![An analytical approach to vibraphone performance through the](http://s1.studyres.com/store/data/014614929_1-c975191712af9639334f7f85670e1af0-300x300.png)
An analytical approach to vibraphone performance through the
... group in 1944 and recorded an album entitled Hallelujah! Slam Slam Blues. This is the first album to feature the vibraphone as a lead instrument for an entire album, thereby establishing it as a viable jazz medium.6 The roots of Hampton’s and Norvo’s styles lie in formal percussion techniques. Thei ...
... group in 1944 and recorded an album entitled Hallelujah! Slam Slam Blues. This is the first album to feature the vibraphone as a lead instrument for an entire album, thereby establishing it as a viable jazz medium.6 The roots of Hampton’s and Norvo’s styles lie in formal percussion techniques. Thei ...
Antiquity and the Middle Ages
... means “something that follows.”) A characteristic of the genre is double verse structure, wherein two phrases of text are sung to the same melody (see Dies irae, Anthology 12). The spread of the sequence was an indirect result of Viking depredations along the northern coast of France. A monk from th ...
... means “something that follows.”) A characteristic of the genre is double verse structure, wherein two phrases of text are sung to the same melody (see Dies irae, Anthology 12). The spread of the sequence was an indirect result of Viking depredations along the northern coast of France. A monk from th ...
MTO 1.1: Rothgeb, The Tristan Chord
... laconic quality. The dominant-seventh chord of bar 3 “should” continue to an A-minor tonic chord, almost certainly with C 2 in the treble; the bass A would provide the point of departure for the chromatic passing A on which the second TC is based. That continuation, however, is suppressed in favor o ...
... laconic quality. The dominant-seventh chord of bar 3 “should” continue to an A-minor tonic chord, almost certainly with C 2 in the treble; the bass A would provide the point of departure for the chromatic passing A on which the second TC is based. That continuation, however, is suppressed in favor o ...
This Worldes Joie Part 3 analysis
... dissonant chord in the strings, which, together with the vocal F, make the notes of a “z cell” – (see previous notes). Bars 38-40 are octatonic (Collection I – B tone-semitone ordering - with two chromatic decorations – C (tenor, 384) and Eb (strings, 40)). Once again the celesta interjects its mor ...
... dissonant chord in the strings, which, together with the vocal F, make the notes of a “z cell” – (see previous notes). Bars 38-40 are octatonic (Collection I – B tone-semitone ordering - with two chromatic decorations – C (tenor, 384) and Eb (strings, 40)). Once again the celesta interjects its mor ...
Six Bagatelles for String Quartet, Op. 9, No. 5 “Äußerst langsam
... notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combines it with the Modern technique of atonality. (And, by choosing the weird, disturbing poetry, Schoenberg t ...
... notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combines it with the Modern technique of atonality. (And, by choosing the weird, disturbing poetry, Schoenberg t ...
The Problem of Articulation in Stravinsky`s Music
... staccato or pizzicato. The first one (“a”) is a result of the performance on low strings (cellos and double-basses) of a single pitch (doubled in octave) articulated staccato. This kind of the timbre is repeated as a succession of the pitches: c , d, e, f , g, g . The second timbre-pulse (“b”) is a ...
... staccato or pizzicato. The first one (“a”) is a result of the performance on low strings (cellos and double-basses) of a single pitch (doubled in octave) articulated staccato. This kind of the timbre is repeated as a succession of the pitches: c , d, e, f , g, g . The second timbre-pulse (“b”) is a ...
Music Chapter 7 new whole chapter New edit 2014sp
... Ebb & Flow of Tides Spend time sleeping! TextureCycle of the Moon Eat at certain intevals of time Cycle of the Sun ...
... Ebb & Flow of Tides Spend time sleeping! TextureCycle of the Moon Eat at certain intevals of time Cycle of the Sun ...
Chords, Keys, and Scales - What are they, and
... the distances from one note of the scale to the next happen in a different pattern in major keys and minor keys. Example 1: C major uses all the white piano keys from C to C. You will notice that there is no black key between E and F or between B and C. That means that there is only a semitone betwe ...
... the distances from one note of the scale to the next happen in a different pattern in major keys and minor keys. Example 1: C major uses all the white piano keys from C to C. You will notice that there is no black key between E and F or between B and C. That means that there is only a semitone betwe ...
Triads
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
AP Music Theory Syllabus
... 2. Notate a melody from dictation, 6 to 8 bars, major or minor mode, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings. 3. Notate melodies from dictation, 6 to 8 bars, major or minor mode, chromatic alteration from harmonic/melodic scales, simple or compound time ...
... 2. Notate a melody from dictation, 6 to 8 bars, major or minor mode, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings. 3. Notate melodies from dictation, 6 to 8 bars, major or minor mode, chromatic alteration from harmonic/melodic scales, simple or compound time ...
COURSE TITLE - Metropolitan Community College
... 5. Build major and minor scales. 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voice to illustrate different dynamic levels and the tapping of your hand to differentiate different tempos. 8. Build triads and seventh chords on the staff and at the piano. 9. In ...
... 5. Build major and minor scales. 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voice to illustrate different dynamic levels and the tapping of your hand to differentiate different tempos. 8. Build triads and seventh chords on the staff and at the piano. 9. In ...
Grades K-8 General Music - Wilmette Public Schools District 39
... drum, doumbek, bongo), pitched/unpitched, instruments, mallets, keyboard, beat, rhythm, bordun (steady beat, broken, level, moving, crossover, chordal), pentaton, ...
... drum, doumbek, bongo), pitched/unpitched, instruments, mallets, keyboard, beat, rhythm, bordun (steady beat, broken, level, moving, crossover, chordal), pentaton, ...
AP Music Syllabus
... 50% - Major grades: Written tests, sight-singing tests, projects (called “Product – Major” in Home Access) 30% - Minor grades: Quizzes, worksheet packets (called “Product – Minor” in Home Access) 20% - Daily grades: Shorter in-class activities. (called “Daily” in Home Access) Late work will be accep ...
... 50% - Major grades: Written tests, sight-singing tests, projects (called “Product – Major” in Home Access) 30% - Minor grades: Quizzes, worksheet packets (called “Product – Minor” in Home Access) 20% - Daily grades: Shorter in-class activities. (called “Daily” in Home Access) Late work will be accep ...
The Lydian dominant scale The Lydian dominant scale is a very
... The Lydian dominant scale The Lydian dominant scale is a very common scale used in jazz and fusion music, and has a very unique, easy to recognize character, which characterizes a lot of fusion player ...
... The Lydian dominant scale The Lydian dominant scale is a very common scale used in jazz and fusion music, and has a very unique, easy to recognize character, which characterizes a lot of fusion player ...
MTO 18.2: Sly, Review of Damschroder
... approach. There are three innate encumbrances to this strategy. First, though he has done what he can to represent opposing perspectives fully and accurately, such a format cannot possibly manage this with uniform success. While the battle lines are certainly drawn well enough, a textured image of t ...
... approach. There are three innate encumbrances to this strategy. First, though he has done what he can to represent opposing perspectives fully and accurately, such a format cannot possibly manage this with uniform success. While the battle lines are certainly drawn well enough, a textured image of t ...
Improvised Music after 1950: Afrological and
... grips with some of the implications of musical improvisation. This confrontation, however, took place amid an ongoing narrative of dismissal, on the part of many of these composers, of the tenets of African-American improvisative forms. Moreover, texts documenting the musical products of the America ...
... grips with some of the implications of musical improvisation. This confrontation, however, took place amid an ongoing narrative of dismissal, on the part of many of these composers, of the tenets of African-American improvisative forms. Moreover, texts documenting the musical products of the America ...
Secondary Functions 1 - Appoquinimink High School
... #1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant #2. Find the note a P5 below the root of the altered chord #3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dom ...
... #1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant #2. Find the note a P5 below the root of the altered chord #3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dom ...
Melody and Musical Texture What This Book Is About
... Nachtmusik, for string orchestra. ♮♮ EXAMPLE ♮♮ [on facing page] The familiar melody is in the first violin part. The other parts are accompaniment; they are also melodic (try singing them!), but their melodies are subsidiary to the principal melody in the first violin, and the bass is perhaps the l ...
... Nachtmusik, for string orchestra. ♮♮ EXAMPLE ♮♮ [on facing page] The familiar melody is in the first violin part. The other parts are accompaniment; they are also melodic (try singing them!), but their melodies are subsidiary to the principal melody in the first violin, and the bass is perhaps the l ...
Medieval Music Period
... organum was called "free organum". Its distinguishing factor is that the parts did not have to move only in parallel motion, but could also move in oblique, or contrary motion. This made it much easier to avoid the dreaded tritone The final style of organum that developed was known as "melismatic or ...
... organum was called "free organum". Its distinguishing factor is that the parts did not have to move only in parallel motion, but could also move in oblique, or contrary motion. This made it much easier to avoid the dreaded tritone The final style of organum that developed was known as "melismatic or ...
The Six-Stringed Bowl Lyre Krar of Ethiopia and its Function as a
... the Baganda of Uganda the close link of instrumental and vocal music and other forms of speech considers nearly all types of instruments (Cooke 1970: 62). Referring to the amadinda log xylophone found in this culture, Kubik (2010: 284) suggests that although this instrument is not used to accompany ...
... the Baganda of Uganda the close link of instrumental and vocal music and other forms of speech considers nearly all types of instruments (Cooke 1970: 62). Referring to the amadinda log xylophone found in this culture, Kubik (2010: 284) suggests that although this instrument is not used to accompany ...
July issue of DownBeat
... Throughout the series’ history, the programming has shed light on lesser-known sides of well-known subjects. Case in point: a concert last year on West Coast jazz that covered not only Gerry Mulligan—with whom Charlap cut his musical teeth as a sideman—but also the Central Avenue scene, heavily popu ...
... Throughout the series’ history, the programming has shed light on lesser-known sides of well-known subjects. Case in point: a concert last year on West Coast jazz that covered not only Gerry Mulligan—with whom Charlap cut his musical teeth as a sideman—but also the Central Avenue scene, heavily popu ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
Appendix 1
... piece from D major to E major, all pitches would be written or played a whole step higher. Treble clef (G clef) The sign ( ) indicating that the second line from the bottom of the staff is the G above ...
... piece from D major to E major, all pitches would be written or played a whole step higher. Treble clef (G clef) The sign ( ) indicating that the second line from the bottom of the staff is the G above ...
36. Purcell `Thy hand, Belinda` and `When I am laid in earth`
... voice and ground bass cadence together (and at bars 45-46). The element of variance is more interesting musically than continuous regularity, but is also a little unsettling, perhaps deliberately to heighten the dramatic tension. NB: In the following text superscript figures refer to beat numbers. ...
... voice and ground bass cadence together (and at bars 45-46). The element of variance is more interesting musically than continuous regularity, but is also a little unsettling, perhaps deliberately to heighten the dramatic tension. NB: In the following text superscript figures refer to beat numbers. ...
Ostinato
![](https://commons.wikimedia.org/wiki/Special:FilePath/Dido's_Lament_ground_bass.png?width=300)
In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's Boléro or Giorgio Moroder's I Feel Love.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.Within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A ""favorite technique of contemporary jazz writers"", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.