Generating Guitar Scores from a MIDI Source
... Computer music has been an active field for several decades. Most software applications developed for computer music have been to assist music composers to create synthetical music. Creating a good piece of music not only requires creativity but also a solid background on music theories. However, fo ...
... Computer music has been an active field for several decades. Most software applications developed for computer music have been to assist music composers to create synthetical music. Creating a good piece of music not only requires creativity but also a solid background on music theories. However, fo ...
GLOSSARY for National Core Arts: Music STANDARDS
... Jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression______________________ Series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively__________ ...
... Jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression______________________ Series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively__________ ...
Table of Contents
... number of “chant” traditions. Gregorian Chants became the most common and enduring form. These are the chants that were organized by Pope Gregory the Great (540-604.) They were sung in unison, without any accompaniment. Their melodies were built on a number of musical scales, two of which approximat ...
... number of “chant” traditions. Gregorian Chants became the most common and enduring form. These are the chants that were organized by Pope Gregory the Great (540-604.) They were sung in unison, without any accompaniment. Their melodies were built on a number of musical scales, two of which approximat ...
Understanding Chord Symbols - Florida Music Education Associations
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
A Crash Course in Renaissance Counterpoint
... and brush on a few small topics that are fairly easy to grasp and will offer the most help in understanding the ‘horizontal’ component of basso continuo repertoire. This will lead to more confidence in a number of musical contexts, including analyzing original repertoire to make decisions about harm ...
... and brush on a few small topics that are fairly easy to grasp and will offer the most help in understanding the ‘horizontal’ component of basso continuo repertoire. This will lead to more confidence in a number of musical contexts, including analyzing original repertoire to make decisions about harm ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... The last note of one phrase sometimes serves as the first note of the next one, a process referred to a elision Discuss example 10-11 (Mozart: An die Freude) composed by Mozart when he was eleven years old Cadences occur regularly every four measures in this song, each cadence marking the en ...
... The last note of one phrase sometimes serves as the first note of the next one, a process referred to a elision Discuss example 10-11 (Mozart: An die Freude) composed by Mozart when he was eleven years old Cadences occur regularly every four measures in this song, each cadence marking the en ...
The Common-Tone Diminished Seventh Chord 7
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
The Music and Production of The Raven An analysis of The Alan
... rock style is the vocoder. According to the linear notes of the record this was the first use of a digital vocoder on a pop/rock record. Once again the inclusion of this instrument dramatically changes the effect of the music. When combined with the keys in Part A of the 1st verse the two produce a ...
... rock style is the vocoder. According to the linear notes of the record this was the first use of a digital vocoder on a pop/rock record. Once again the inclusion of this instrument dramatically changes the effect of the music. When combined with the keys in Part A of the 1st verse the two produce a ...
Complete Symphonies - Australian Music Centre
... under Stuart Challender. Again in one movement, the symphony’s central idea is a kind of Beethovenian movement from a world of dark, unstable textures to one of triumph as represented by the work’s unequivocal A-flat major, and the music’s progress from section to section and concurrent modulations ...
... under Stuart Challender. Again in one movement, the symphony’s central idea is a kind of Beethovenian movement from a world of dark, unstable textures to one of triumph as represented by the work’s unequivocal A-flat major, and the music’s progress from section to section and concurrent modulations ...
Lewis excerpts
... musicality but as to which musics suit his own taste. The Cageian tendency is to confront this contradiction through the use of terms that essentially exnominate or disguise his likes and dislikes as such: "some music ... which would not be useful to me at all might be very useful to someone else" ( ...
... musicality but as to which musics suit his own taste. The Cageian tendency is to confront this contradiction through the use of terms that essentially exnominate or disguise his likes and dislikes as such: "some music ... which would not be useful to me at all might be very useful to someone else" ( ...
Trimbat by Ida Bagus Made Widnyana
... followed at 10:13 by a faster melody more typical of standard kreasi kebyar textures. At 11:22 Widnyana introduces a feeling of complete chaos: thick and seemingly random harmonies, textures and rhythms meant to give the listener the impression that the whole improbable construction has finally fall ...
... followed at 10:13 by a faster melody more typical of standard kreasi kebyar textures. At 11:22 Widnyana introduces a feeling of complete chaos: thick and seemingly random harmonies, textures and rhythms meant to give the listener the impression that the whole improbable construction has finally fall ...
Music Elements
... Elements of Music - Texture Texture refers to relationship of tones played at the same time. Think about the weave of cloth. Some weaves are more open and some are more closed. ...
... Elements of Music - Texture Texture refers to relationship of tones played at the same time. Think about the weave of cloth. Some weaves are more open and some are more closed. ...
Here is the ligeti chamber concerto article
... measures 12 through 34. Starting in measure 36 is an abrupt change in the total registral spread of the sonority. The pitch process here is not so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 3 ...
... measures 12 through 34. Starting in measure 36 is an abrupt change in the total registral spread of the sonority. The pitch process here is not so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 3 ...
The early solo songs – the 1920s
... Milford’s musical style was not innovatory in terms of melody, harmony, texture or tonal development. His style did not include the influence of Romanticism, it was not completely based upon an ‘English’ style (with such influences as English folk-song or Renaissance music), nor was it influenced by ...
... Milford’s musical style was not innovatory in terms of melody, harmony, texture or tonal development. His style did not include the influence of Romanticism, it was not completely based upon an ‘English’ style (with such influences as English folk-song or Renaissance music), nor was it influenced by ...
Student 1
... its niche in the Dixieland and traditional jazz bands of the early Twentieth century. Some of the earliest recordings of the trombone in Dixie and traditional swing music come from the popular and well noted Edward 'Kid' Ory (1886 — 1973). This Negro trombonist was born in New Orleans and was one of ...
... its niche in the Dixieland and traditional jazz bands of the early Twentieth century. Some of the earliest recordings of the trombone in Dixie and traditional swing music come from the popular and well noted Edward 'Kid' Ory (1886 — 1973). This Negro trombonist was born in New Orleans and was one of ...
1 Consonance and Dissonance in Theory, Practice and Science
... Before the Enlightenment, the idea of a judicious and balanced use of C/D to create a harmonious whole was the basis of the craft of harmony. According to Berger, By 1825, the understanding of harmony seems already to have been reduced to its narrow, modern sense ... the craft of constructing chord ...
... Before the Enlightenment, the idea of a judicious and balanced use of C/D to create a harmonious whole was the basis of the craft of harmony. According to Berger, By 1825, the understanding of harmony seems already to have been reduced to its narrow, modern sense ... the craft of constructing chord ...
Jazz Piano Quartal Voicing Workshop
... Ever since Bill Evans, Herbie Hancock, Chick Corea, and McCoy Tyner began to usher in the era of modern jazz piano, the left hand voicing underwent a remarkable transformation. Not only did the content (the actual chord voicings) change, but the context (the way that the voicings were used and the f ...
... Ever since Bill Evans, Herbie Hancock, Chick Corea, and McCoy Tyner began to usher in the era of modern jazz piano, the left hand voicing underwent a remarkable transformation. Not only did the content (the actual chord voicings) change, but the context (the way that the voicings were used and the f ...
lecture 18
... New forms: symphonic poem, song cycle, music drama. New genres emerged, including piano character pieces (nocturne; ballade; etude; impromptu; intermezzo; mazurka, polonaise), lieder, song cycles, programmatic overtures, symphonic poems. Many forms (e.g. sonata, rondo, variations) were taken from th ...
... New forms: symphonic poem, song cycle, music drama. New genres emerged, including piano character pieces (nocturne; ballade; etude; impromptu; intermezzo; mazurka, polonaise), lieder, song cycles, programmatic overtures, symphonic poems. Many forms (e.g. sonata, rondo, variations) were taken from th ...
a geometric model for the analysis of pop music
... can be found in the same song. We leave to the interested reader the task of checking that these two harmonic progressions are also indecomposable into sub-patterns and that they are structurally different from each other and from the progression shown in example 8 (meaning that they are associated ...
... can be found in the same song. We leave to the interested reader the task of checking that these two harmonic progressions are also indecomposable into sub-patterns and that they are structurally different from each other and from the progression shown in example 8 (meaning that they are associated ...
Mathematical Properties of the Melodic M[...]
... This is quite unexpected, as one would expect the most enharmonic scale to have some direct relatedness (i.e. through even numbered harmonics). However, multiples of harmonic 3 also indicate relatedness (the 5th) – as such, the 9th is related to the fifth by this interval. This is also the interval ...
... This is quite unexpected, as one would expect the most enharmonic scale to have some direct relatedness (i.e. through even numbered harmonics). However, multiples of harmonic 3 also indicate relatedness (the 5th) – as such, the 9th is related to the fifth by this interval. This is also the interval ...
4th 9 weeks
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
HERE - davenantperformingarts
... octave each time. The first two notes are then repeated as part of a triplet. When the melody is repeated at bar 5, the harmonies change subtly, with the addition of a flat seventh A [natural] above the bass B. Then at bar 7 there is an undulating scalic countermelody in the middle of the texture, r ...
... octave each time. The first two notes are then repeated as part of a triplet. When the melody is repeated at bar 5, the harmonies change subtly, with the addition of a flat seventh A [natural] above the bass B. Then at bar 7 there is an undulating scalic countermelody in the middle of the texture, r ...
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.