Jazz Composers Orchestra Institute American
... The Floating Bridge of Dreams presented a number of questions. First and foremost was how to approach melody and rhythm, two staples of all musical styles but often approached very differently between different genres and cultures. Rather than try to write a piece in the jazz style (a term whose me ...
... The Floating Bridge of Dreams presented a number of questions. First and foremost was how to approach melody and rhythm, two staples of all musical styles but often approached very differently between different genres and cultures. Rather than try to write a piece in the jazz style (a term whose me ...
Film World
... stringed instruments to follow her journey alone in the car. This sequence makes expert use of ostinato where each musical phrase is given the same length of time and volume and repeats itself a lot, lulling the listener into a sense of growing danger which is both scary and hypnotic. These motifs d ...
... stringed instruments to follow her journey alone in the car. This sequence makes expert use of ostinato where each musical phrase is given the same length of time and volume and repeats itself a lot, lulling the listener into a sense of growing danger which is both scary and hypnotic. These motifs d ...
lesson 1 - john p birchall
... The smallest formal INTERVAL in Western music is a SEMITONE, and the succession of semitones between any note and its OCTAVE is a CHROMATIC SCALE. The chromatic scale divides the octave into 12 EQUAL SEMITONES. See Example 1. Play this over on your instrument and listen to the sound. This scale cont ...
... The smallest formal INTERVAL in Western music is a SEMITONE, and the succession of semitones between any note and its OCTAVE is a CHROMATIC SCALE. The chromatic scale divides the octave into 12 EQUAL SEMITONES. See Example 1. Play this over on your instrument and listen to the sound. This scale cont ...
National 5 - Musical Periods and Styles
... 18 (a) What is meant by the term ‘Celtic rock.’ _________________________ ______________________________________________________________ ______________________________________________________________ (b) Watch the videos of Celtic rock from the PowerPoint and state the names of the instruments commo ...
... 18 (a) What is meant by the term ‘Celtic rock.’ _________________________ ______________________________________________________________ ______________________________________________________________ (b) Watch the videos of Celtic rock from the PowerPoint and state the names of the instruments commo ...
AP Music Theory
... mostly diatonic pitches in major with 3 or 4 repetitions. 14. Notate a melody from dictation of 6 to 12 measures in simple or compound meter utilizing chromatic alterations for harmonic or melodic minor with 3 or 4 repetitions. 15. Sight sing a melody of 4 to 8 measures in a major or minor key in si ...
... mostly diatonic pitches in major with 3 or 4 repetitions. 14. Notate a melody from dictation of 6 to 12 measures in simple or compound meter utilizing chromatic alterations for harmonic or melodic minor with 3 or 4 repetitions. 15. Sight sing a melody of 4 to 8 measures in a major or minor key in si ...
Penn 1 Barbarous, deep, resonant, simplistic
... edgier element into a classical body. For instance, Milhaud infuses the saxophone with legato, flowing melodies instead of frantic staccato patterns. He then transforms the percussion into a pulsating entity, utilizing its deep timbre as an “undercurrent of tender, suppressed desire”.23 He then inte ...
... edgier element into a classical body. For instance, Milhaud infuses the saxophone with legato, flowing melodies instead of frantic staccato patterns. He then transforms the percussion into a pulsating entity, utilizing its deep timbre as an “undercurrent of tender, suppressed desire”.23 He then inte ...
Approaching Jazz-Influenced Wind Music
... recording featuring Gershwin with the Paul Whiteman band. The most striking aspect of the piano roll performance is the speed, which is considerably brisk especially when considered in relation to more familiar modern, quasi-romantic interpretations, especially of the orchestral version. The first h ...
... recording featuring Gershwin with the Paul Whiteman band. The most striking aspect of the piano roll performance is the speed, which is considerably brisk especially when considered in relation to more familiar modern, quasi-romantic interpretations, especially of the orchestral version. The first h ...
Milhaud Describes Polytonality
... It is noteworthy that in most instances of these polytonal counterpoints made from diatonic melodies, the harmonies arising from vertical conjunctions of tones are unanalyzable, and the result is hence atonal. Before studying the origins and evolution of atonality, it seems to me necessary to open a ...
... It is noteworthy that in most instances of these polytonal counterpoints made from diatonic melodies, the harmonies arising from vertical conjunctions of tones are unanalyzable, and the result is hence atonal. Before studying the origins and evolution of atonality, it seems to me necessary to open a ...
An Investigation of Music Genres and Their Rhythmic Motifs Debora C. Correa
... and volume and it is more related to the melody or the form the rap is sung. This may explain why rap has the second highest quantity of rhythmic motifs, differing from tonal motifs, since the tonal motifs mainly represents the spoken characteristic of the genre. The delivery may contain more irregu ...
... and volume and it is more related to the melody or the form the rap is sung. This may explain why rap has the second highest quantity of rhythmic motifs, differing from tonal motifs, since the tonal motifs mainly represents the spoken characteristic of the genre. The delivery may contain more irregu ...
In the Style of: George Benson Blues!
... To really get into the essence of George Benson's playing style, listen to as much of his playing as possible. A wonderful example of his jazz blues style playing is a famous recording from his 1968 album Giblet Gravy entitled Billies Bounce (a tune originally by Charlie Parker). Be sure to check ou ...
... To really get into the essence of George Benson's playing style, listen to as much of his playing as possible. A wonderful example of his jazz blues style playing is a famous recording from his 1968 album Giblet Gravy entitled Billies Bounce (a tune originally by Charlie Parker). Be sure to check ou ...
John Cage: Sonatas and Interludes: Sonatas I-III
... and creating tension and resolution is entirely foreign in an environment in which it is the colours of percussive sounds and their interaction that dominate the musical effect. ...
... and creating tension and resolution is entirely foreign in an environment in which it is the colours of percussive sounds and their interaction that dominate the musical effect. ...
African Music Vol 2 no 4(Seb)
... (guitar solo), sometimes by familiar means, elsewhere through what perhaps amounts to pure “Africanisms”. Constant return to Tonic harmony every two bars—which Westerners might expect to prove unbearably monotonous—seems somehow to be adequately relieved by an abundance of melodic, and particularly ...
... (guitar solo), sometimes by familiar means, elsewhere through what perhaps amounts to pure “Africanisms”. Constant return to Tonic harmony every two bars—which Westerners might expect to prove unbearably monotonous—seems somehow to be adequately relieved by an abundance of melodic, and particularly ...
Voicings for YWIH - Young Women In Harmony
... In barbershop music, the bass is the lowest of the four voice parts — a harmony part sung below the melody. The bass part, like the baritone part, is written in the bass clef, an octave lower than it is sung. Because one of the primary characteristics of barbershop music is its cone-shaped sound, th ...
... In barbershop music, the bass is the lowest of the four voice parts — a harmony part sung below the melody. The bass part, like the baritone part, is written in the bass clef, an octave lower than it is sung. Because one of the primary characteristics of barbershop music is its cone-shaped sound, th ...
rhythm / duration / metre
... Use 2nd finger position to play C and F naturals b) Play a C major scale – 2 octaves c) Play G major scale – 1 octave Read and understand the effects of accidentals b) Read and understand Dc al fine c) Understand how tempi and dynamic markings affect the character of a piece d) Play 01234 on all str ...
... Use 2nd finger position to play C and F naturals b) Play a C major scale – 2 octaves c) Play G major scale – 1 octave Read and understand the effects of accidentals b) Read and understand Dc al fine c) Understand how tempi and dynamic markings affect the character of a piece d) Play 01234 on all str ...
Lesson_SSS_-_Diatoni..
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
1 - State Examination Commission
... Quality of bass line, including continuing in style of given opening, and also including up to 2 marks for note placement throughout. 1 mark for each chord that fits melodic line and is part of a good musical progression. Up to 4 marks for awareness of cadences. Bass notes need not be indicated. ...
... Quality of bass line, including continuing in style of given opening, and also including up to 2 marks for note placement throughout. 1 mark for each chord that fits melodic line and is part of a good musical progression. Up to 4 marks for awareness of cadences. Bass notes need not be indicated. ...
The Functional Tonal Musical System and its Mathematical
... arena) the chord is a sound formed of at least three different pitches, disposed, in the root position a third apart from each other. In making a reference to the musical role of this audio “product” called a chord, Marţian Negrea offers an interesting opinion: “…the sound has a force that activates ...
... arena) the chord is a sound formed of at least three different pitches, disposed, in the root position a third apart from each other. In making a reference to the musical role of this audio “product” called a chord, Marţian Negrea offers an interesting opinion: “…the sound has a force that activates ...
PRE Vol. 1 - Ethnomusicology Review
... played during sung verses or choruses. The main melodic figures, for either vocal or instrumental lines, are generally not altered. Boleros, the second important song form played by mariachis, are more a popular form than a traditional one. ~st of the "romantic" songs, the ballads, are boleros. The ...
... played during sung verses or choruses. The main melodic figures, for either vocal or instrumental lines, are generally not altered. Boleros, the second important song form played by mariachis, are more a popular form than a traditional one. ~st of the "romantic" songs, the ballads, are boleros. The ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two ...
... All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
Lesson SSS - Diatonic Sequences
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
American Popular Music - U.S. Embassy in Beijing
... blues singing are derived from the griot (praise singer) traditions of the West African savannah. Certain features of African music form the core of African-American music and, by extension, of American popular music as a whole. Call-and-response forms, in which a lead singer and chorus alternate, a ...
... blues singing are derived from the griot (praise singer) traditions of the West African savannah. Certain features of African music form the core of African-American music and, by extension, of American popular music as a whole. Call-and-response forms, in which a lead singer and chorus alternate, a ...
The Lydian Mode - Fundamental Changes
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
Pamela Luss is a contemporary jazz vocalist blessed with a beautiful
... with Houston Person as saxophonist and producer. “Person works well with most singers (i.e. Etta Jones), but here he seems to feed off of the vocal lines Luss dishes out. They‟re clearly having fun trading phrases on occasion, or in retort when the vocalist makes statements…” Nastos further describe ...
... with Houston Person as saxophonist and producer. “Person works well with most singers (i.e. Etta Jones), but here he seems to feed off of the vocal lines Luss dishes out. They‟re clearly having fun trading phrases on occasion, or in retort when the vocalist makes statements…” Nastos further describe ...
File - Music by Heart Studio
... Some composers expressed their opposition to formality, convention, authority, and tradition, while some others expressed a longing for the past and made efforts to recapture it in some way. Individual expression became the composer’s principal goal. Through tone color composers sought to express se ...
... Some composers expressed their opposition to formality, convention, authority, and tradition, while some others expressed a longing for the past and made efforts to recapture it in some way. Individual expression became the composer’s principal goal. Through tone color composers sought to express se ...
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.