the fundamental principles of harmony
... All young musicians know how important it is to understand and master the ground rules of musical language. In works from Rameau to Fauré, it is surprising to see how just one note shifted or changed can make music tip from one key to another! Narcis Bonet must be thanked for having undertaken this ...
... All young musicians know how important it is to understand and master the ground rules of musical language. In works from Rameau to Fauré, it is surprising to see how just one note shifted or changed can make music tip from one key to another! Narcis Bonet must be thanked for having undertaken this ...
2 – First Species Counterpoint
... Example 2-3 below demonstrates these two intervals used properly. Harmonic Considerations 18th century counterpoint differs from 16th century counterpoint in that not only are the intervallic combinations considered, but also the harmonic progressions implied by the various intervallic combinations. ...
... Example 2-3 below demonstrates these two intervals used properly. Harmonic Considerations 18th century counterpoint differs from 16th century counterpoint in that not only are the intervallic combinations considered, but also the harmonic progressions implied by the various intervallic combinations. ...
gunther schuller: journey into jazz
... CONCERTINO FOR JAZZ QUARTET AND ORCHESTRA The opening movement (Slow) is consistently in 5/4 time—then quite unusual in jazz— and opens with a descending gesture spread through the strings [9]. After a few measures the flute, oboe, and horn join with sustained notes, and the jazz quartet makes its e ...
... CONCERTINO FOR JAZZ QUARTET AND ORCHESTRA The opening movement (Slow) is consistently in 5/4 time—then quite unusual in jazz— and opens with a descending gesture spread through the strings [9]. After a few measures the flute, oboe, and horn join with sustained notes, and the jazz quartet makes its e ...
Slide 1
... When we add minor chords to a tune that’s in a major key, there are two chords that are most likely to sound natural, because those two chords (the ii and vi chords) also contain only notes from the I major scale (C major in example below). A typical such progression would be C ...
... When we add minor chords to a tune that’s in a major key, there are two chords that are most likely to sound natural, because those two chords (the ii and vi chords) also contain only notes from the I major scale (C major in example below). A typical such progression would be C ...
degree handbook - Berklee College of Music
... department at Berklee College of Music. A two-time winner of the Independent Music Award for R&B/ Blues (2001, 2006), he has been a prominent guitar player and singer-songwriter in the New England music scene since 1990, when he graduated from Berklee. He leads his own group, the Thaddeus Hogarth Ba ...
... department at Berklee College of Music. A two-time winner of the Independent Music Award for R&B/ Blues (2001, 2006), he has been a prominent guitar player and singer-songwriter in the New England music scene since 1990, when he graduated from Berklee. He leads his own group, the Thaddeus Hogarth Ba ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... 6. Phrase group is several phrases in a row without antecedent/consequent relationships. 7. Harmonic rhythm. Usually Bach chorales have one harmony per beat, while classical/romantic works often have only one per measure. CH20 Small Forms 1. Binary is in two pieces. Usually B section has a brief dig ...
... 6. Phrase group is several phrases in a row without antecedent/consequent relationships. 7. Harmonic rhythm. Usually Bach chorales have one harmony per beat, while classical/romantic works often have only one per measure. CH20 Small Forms 1. Binary is in two pieces. Usually B section has a brief dig ...
PowerPoint Lecture Slides
... Micronesia) perceive pitch opposite of how Westerners understand it. Their low pitches are what Westerners would describe as high, and their high pitches are our low pitches. ...
... Micronesia) perceive pitch opposite of how Westerners understand it. Their low pitches are what Westerners would describe as high, and their high pitches are our low pitches. ...
history of barbershop
... seventh" actually is what most musicians refer to as the dominant seventh chord. Somewhere in the late sixteenth or early seventeenth century, European composers began to complement the major triad with a flatted seventh, a tone whose interval from the root has the frequency ratio 7:4. (It is purely ...
... seventh" actually is what most musicians refer to as the dominant seventh chord. Somewhere in the late sixteenth or early seventeenth century, European composers began to complement the major triad with a flatted seventh, a tone whose interval from the root has the frequency ratio 7:4. (It is purely ...
2015 Chorus Midterm Review Sheet
... quarter note – a note one-quarter the value of a whole note rest – a symbol used for duration of silence rhythm – the pattern of musical sound. root – the name given to the bottom tone of a triad scale – an ascending or descending series of tones arranged in definite order within an octave sharp – a ...
... quarter note – a note one-quarter the value of a whole note rest – a symbol used for duration of silence rhythm – the pattern of musical sound. root – the name given to the bottom tone of a triad scale – an ascending or descending series of tones arranged in definite order within an octave sharp – a ...
9.2-jacobs
... Meter (metric): global vision of temporal structures, usually dependent on style Harmony: the chords, subject to “grammatical” rules of progression ...
... Meter (metric): global vision of temporal structures, usually dependent on style Harmony: the chords, subject to “grammatical” rules of progression ...
Computational Models of the Pitch-Rhythm Correspondence
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
Like Two Branches - Tsippi Fleischer
... of the CD in which a fine peformance of the cantata Like Two Branches was recorded); in this he salutes the fine achievements of his choir (which is no more in existence) during 15 years of musical activity in Israel: "A conductor always strives to interpret music at the highest level, both professi ...
... of the CD in which a fine peformance of the cantata Like Two Branches was recorded); in this he salutes the fine achievements of his choir (which is no more in existence) during 15 years of musical activity in Israel: "A conductor always strives to interpret music at the highest level, both professi ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony
... Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony: 1 distinct tune + background harmony (like an accompaniment). In a piece of music with a homophonic texture, the harmonies often unfold over time. That is to say that the members of a triad, for example, may not be lined-up all the time, ...
... Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony: 1 distinct tune + background harmony (like an accompaniment). In a piece of music with a homophonic texture, the harmonies often unfold over time. That is to say that the members of a triad, for example, may not be lined-up all the time, ...
Musical expectancy
... Definition of expectancy • “Expectancy” refers to the idea that an antecedent event, or set of events, implies or anticipates a subsequent event or set of events • In music, this means that a given musical event or passage implies or anticipates an upcoming musical event or passage Impact of expecta ...
... Definition of expectancy • “Expectancy” refers to the idea that an antecedent event, or set of events, implies or anticipates a subsequent event or set of events • In music, this means that a given musical event or passage implies or anticipates an upcoming musical event or passage Impact of expecta ...
Musical Terms and Definitions
... a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation of a chord progressing from bottom to top, one note at a time very much (i.e. al ...
... a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation of a chord progressing from bottom to top, one note at a time very much (i.e. al ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
Unity and Form in Miles Davis’ “Blue In Green”
... tonic that never seems to arrive. One could almost hear “bar one” anywhere; theoretically the piece could begin at any point in the sequence. In fact, Bill Evans’ piano introduction (or theme) does just that. Evans’ intro sets up the mood of Blue in Green establishing the primary pitch content and t ...
... tonic that never seems to arrive. One could almost hear “bar one” anywhere; theoretically the piece could begin at any point in the sequence. In fact, Bill Evans’ piano introduction (or theme) does just that. Evans’ intro sets up the mood of Blue in Green establishing the primary pitch content and t ...
grade 11 - Department of Basic Education
... • Maskanda songs have a particular structure which generally begins with an introductory section called the izihlobo or intela • The introduction establishes the singers personal style • A maskanda song starts with a message (izihlobo). "This is what I am about to play and this is who I am." • There ...
... • Maskanda songs have a particular structure which generally begins with an introductory section called the izihlobo or intela • The introduction establishes the singers personal style • A maskanda song starts with a message (izihlobo). "This is what I am about to play and this is who I am." • There ...
the Curriculum Map
... artistic processes (such as interrelated with those of those of music stimuli in visual arts, production and presentation of imagination or music movement in dance, human the arts are similar to and craftmanship), and inter- relationships in different from one another in organizational principles th ...
... artistic processes (such as interrelated with those of those of music stimuli in visual arts, production and presentation of imagination or music movement in dance, human the arts are similar to and craftmanship), and inter- relationships in different from one another in organizational principles th ...
Kari Ikonen Trio Bright
... a somewhat pessimistic perspective on life - musicians included. Pianist Kari Ikonen, however, is a notable exception to this rule. Preferring light to darkness, the luminous, vivid sounds and upbeat songs of his aptly titled album Bright are an empathetic counterpoint to the prevailing doom and glo ...
... a somewhat pessimistic perspective on life - musicians included. Pianist Kari Ikonen, however, is a notable exception to this rule. Preferring light to darkness, the luminous, vivid sounds and upbeat songs of his aptly titled album Bright are an empathetic counterpoint to the prevailing doom and glo ...
Romantic and impressionist harmony
... dominated by extended tertian harmony and chromaticism. Schubert provides us with his Sanctus (Ab major mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and en ...
... dominated by extended tertian harmony and chromaticism. Schubert provides us with his Sanctus (Ab major mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and en ...
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.