21M.350 Musical Analysis
... the first variation violin 1 played eighth notes with eighth note rests preceding many of the motives, the violin now finds itself playing sixteenth note motives, with sixteenth note rests. Reduction shows these notes to be different from notes played in previous variations or the theme itself, but ...
... the first variation violin 1 played eighth notes with eighth note rests preceding many of the motives, the violin now finds itself playing sixteenth note motives, with sixteenth note rests. Reduction shows these notes to be different from notes played in previous variations or the theme itself, but ...
Towards the Digital Music Library: Tune Retrieval from Acoustic Input
... contour, and matches the contour against a database of 183 songs. Ranked retrieval is performed, based on an approximate string matching algorithm that allows for transposition, dropout, and duplication. It was found that most of the songs could be identified uniquely when the pitch contour was base ...
... contour, and matches the contour against a database of 183 songs. Ranked retrieval is performed, based on an approximate string matching algorithm that allows for transposition, dropout, and duplication. It was found that most of the songs could be identified uniquely when the pitch contour was base ...
Distinguishing Predominant and Subdominant Behavior in
... dominant motion as lower-neighbor motion to a lower-status element. Conversely, subdominant motion is idealized as upper-neighbor motion to a lower-status element. Consequently, harmonies can be grouped by similar behavior rather than shared pitches or scale-degrees. Most so-called predominants, for ...
... dominant motion as lower-neighbor motion to a lower-status element. Conversely, subdominant motion is idealized as upper-neighbor motion to a lower-status element. Consequently, harmonies can be grouped by similar behavior rather than shared pitches or scale-degrees. Most so-called predominants, for ...
5th Grade Vocal Music - Sutton Public Schools
... 1. Review treble clef note names 2. Learn A-G note names of bass clef lines and spaces 3. Be able to identify bass clef note names on sight 4. Notes up to 1 ledger line above or below each staff ...
... 1. Review treble clef note names 2. Learn A-G note names of bass clef lines and spaces 3. Be able to identify bass clef note names on sight 4. Notes up to 1 ledger line above or below each staff ...
Vocal Techniques
... Fade: A stylistic vocal technique that gradually changes the volume of sound leading in or out of a word or phrase. Facial Expression: Our face exhibits many emotions. A singer can move the muscular structure of the face relative to the song theme to communicate feelings such as joy, sadness, and s ...
... Fade: A stylistic vocal technique that gradually changes the volume of sound leading in or out of a word or phrase. Facial Expression: Our face exhibits many emotions. A singer can move the muscular structure of the face relative to the song theme to communicate feelings such as joy, sadness, and s ...
a PDF version of this work.
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
Automatic Distillation of Musical Structures: Learning the Grammar of Music
... Other interesting simple patterns are rare. Most of them are simply phrases that repeat themselves within a single song. Some, however, are more general and contain common musical phrases. Such a pattern is shown in Figure 4. This is a ...
... Other interesting simple patterns are rare. Most of them are simply phrases that repeat themselves within a single song. Some, however, are more general and contain common musical phrases. Such a pattern is shown in Figure 4. This is a ...
The History and Evolution of the Musical Symbol
... A symbol prefixed to a five-line stave indicating the pitch range to which the written notes apply. The C clef is now comparatively rare, except for viola, cello, and bas soon; for most other instruments the G and F clefs are standard. Polyphony Music which contains more than one composed part at a ...
... A symbol prefixed to a five-line stave indicating the pitch range to which the written notes apply. The C clef is now comparatively rare, except for viola, cello, and bas soon; for most other instruments the G and F clefs are standard. Polyphony Music which contains more than one composed part at a ...
UNIT 1: Intervals and Scales
... Secondary triads can be found in either major, minor, diminished or augmented form depending on the scale represented. ...
... Secondary triads can be found in either major, minor, diminished or augmented form depending on the scale represented. ...
Tonal Harmony Introduction
... HARMONIC PARTIALS (“overtones”) are the spectra of naturally occurring Hz’s at integer multiples above a fundamental Hz. ...
... HARMONIC PARTIALS (“overtones”) are the spectra of naturally occurring Hz’s at integer multiples above a fundamental Hz. ...
indian raga - Life Learning Cloud
... The Tabla drums gives repeated rhythmic cycles called Tala ...
... The Tabla drums gives repeated rhythmic cycles called Tala ...
Dictionary of Musical Terms
... with octave, third and sixth intervals; however, fourths and fifths may be sounds of consonance, as in both early and 20th-century music. Consort - A 17th-century term for instrumental chamber ensembles and for the compositions written for these ensembles. Con spirito - With spirit. Contra - The oct ...
... with octave, third and sixth intervals; however, fourths and fifths may be sounds of consonance, as in both early and 20th-century music. Consort - A 17th-century term for instrumental chamber ensembles and for the compositions written for these ensembles. Con spirito - With spirit. Contra - The oct ...
paper - Personal Web Pages
... seconds simple and compound smaller than 182¢ with their inversions, and all tritones other then the “just.” These categorizations provide a workable balance of perfect and imperfect consonance and dissonance, divided not only according to ratios and relative consonance and dissonance, but also acco ...
... seconds simple and compound smaller than 182¢ with their inversions, and all tritones other then the “just.” These categorizations provide a workable balance of perfect and imperfect consonance and dissonance, divided not only according to ratios and relative consonance and dissonance, but also acco ...
Read full article in PDF version - Analytical Approaches To World
... as I will later elaborate. Because of intonation errors, some words or phrases in the song were stripped of their syncopating nature in speech. One such example is the word “Kkubo” (road), whose rhythm should have consisted of a sixteenth note for the syllable “Kku,” followed by an eighth note for “ ...
... as I will later elaborate. Because of intonation errors, some words or phrases in the song were stripped of their syncopating nature in speech. One such example is the word “Kkubo” (road), whose rhythm should have consisted of a sixteenth note for the syllable “Kku,” followed by an eighth note for “ ...
Cadences Chord Hierarchy in Cadences Authentic Cadences V
... 1. Like authentic cadences they are characterised by a rising leading note, but instead of going from chord V to I, interrupted cadence move from chord V to vi. 2. Expected chord I missing, so it is known as a deceptive cadence (DC) 3. If the leading note is in the soprano part of chord V (very comm ...
... 1. Like authentic cadences they are characterised by a rising leading note, but instead of going from chord V to I, interrupted cadence move from chord V to vi. 2. Expected chord I missing, so it is known as a deceptive cadence (DC) 3. If the leading note is in the soprano part of chord V (very comm ...
The Sound of It: Chords and “Sonority”
... The first step to clear up existing confusion over Highland bagpipe “keys” is to establish the lingo. What do the words “major,” “minor,” “scale,” “mode,” and “Mixolydian” actually mean? Should we be using these terms the way other musicians do, or can we stretch their meaning to fit our music without ...
... The first step to clear up existing confusion over Highland bagpipe “keys” is to establish the lingo. What do the words “major,” “minor,” “scale,” “mode,” and “Mixolydian” actually mean? Should we be using these terms the way other musicians do, or can we stretch their meaning to fit our music without ...
HARMONIC ANALYSIS for Scale Selection and Chord Substitution BY CURT SHELLER
... The first chord, a Dm7 is in both the major and minor charts. In a major tonality it’s a II chord in the key of C, a III chord in the key of Bb and a VI chord in the key of F. In a minor tonality it’s a I chord in the key of D minor and a IV chord in the key of A minor. The second chord, G7 is found ...
... The first chord, a Dm7 is in both the major and minor charts. In a major tonality it’s a II chord in the key of C, a III chord in the key of Bb and a VI chord in the key of F. In a minor tonality it’s a I chord in the key of D minor and a IV chord in the key of A minor. The second chord, G7 is found ...
Grade 2 - Farmington River Regional School District
... Sing descant to accompany Martin Luther King Jr. songs ...
... Sing descant to accompany Martin Luther King Jr. songs ...
The Blues in Wes Montgomery`s Compositional and Improvisational
... the specific vocal effect of the blue notes, Montgomery will frequently follow the b3 with 3 and b7 with 7. This simulates, to some extent, the characteristic effect of indefinite and wavering intonation found in the vocal usage of blue notes. This is possible because the blue notes lie somewhere in ...
... the specific vocal effect of the blue notes, Montgomery will frequently follow the b3 with 3 and b7 with 7. This simulates, to some extent, the characteristic effect of indefinite and wavering intonation found in the vocal usage of blue notes. This is possible because the blue notes lie somewhere in ...
Percussion
... Very musical performance. Few passages lack Student demonstrates maturity interpretation. Style, tempo, of skills, accuracy of style, a and pulse accurate most of Expression is easy to "feel" by the time. Good use of the listener. dynamics and minor issues with expression. ...
... Very musical performance. Few passages lack Student demonstrates maturity interpretation. Style, tempo, of skills, accuracy of style, a and pulse accurate most of Expression is easy to "feel" by the time. Good use of the listener. dynamics and minor issues with expression. ...
Chapter 9 - eacfaculty.org
... Spacing between voices should not exceed an octave in the upper three voices. The spacing between the bass and the tenor can be any reasonable interval and should never exceed two octaves. Do not overlap voices more than a whole step. An overlap occurs when one voice moves above or below the previou ...
... Spacing between voices should not exceed an octave in the upper three voices. The spacing between the bass and the tenor can be any reasonable interval and should never exceed two octaves. Do not overlap voices more than a whole step. An overlap occurs when one voice moves above or below the previou ...
Jefferson College Course Syllabus MSC101 Fundamentals of Music
... Fundamentals of Music will involve the notation of melody, rhythm, and basic harmony, including scales, intervals, triads, and harmonization of simple melodies. The course is for both non-music majors and those preparing for Music Theory I and will partially fulfill the general education humanities ...
... Fundamentals of Music will involve the notation of melody, rhythm, and basic harmony, including scales, intervals, triads, and harmonization of simple melodies. The course is for both non-music majors and those preparing for Music Theory I and will partially fulfill the general education humanities ...
GOTTSCHALK AND HIS PERIOD
... can the interest in the production of many modern works be explained or justified. One need not be a pessimist to asseverate that only those works which represent definite structural qualities and absolutely unchangeable forms are destined to endure the lapse of time; and to this reason certain work ...
... can the interest in the production of many modern works be explained or justified. One need not be a pessimist to asseverate that only those works which represent definite structural qualities and absolutely unchangeable forms are destined to endure the lapse of time; and to this reason certain work ...
Ostinato
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.