20th Century
... • the 12 notes of the chromatic scale are laid out in a random order and called a theme – They can be developed by ; • reversing them (retrograde) • Turning them upside down (Inversion) • Both, (Retrograde inversion) ...
... • the 12 notes of the chromatic scale are laid out in a random order and called a theme – They can be developed by ; • reversing them (retrograde) • Turning them upside down (Inversion) • Both, (Retrograde inversion) ...
Jazz: The Aesthetics of Imperfection
... these, jazz provides the most suitable area in which they can develop and exercise their talents. Indeed, only a particular type of temperament would be attracted to an art form which values spur-of-the-moment decisions over carefully considered choices, which prefers the haphazard to the premeditat ...
... these, jazz provides the most suitable area in which they can develop and exercise their talents. Indeed, only a particular type of temperament would be attracted to an art form which values spur-of-the-moment decisions over carefully considered choices, which prefers the haphazard to the premeditat ...
glossary of musical terms - Western Michigan University
... an intervalic pattern matching the white keys from "A" to "A" on a piano). minuet: an aristocratic dance in 3/4 meter minuet and trio form: the traditional third-movement form of the Classic 4-movement design, based on an aristocratic dance in 3/4 meter mode: a scale or key used in a musical composi ...
... an intervalic pattern matching the white keys from "A" to "A" on a piano). minuet: an aristocratic dance in 3/4 meter minuet and trio form: the traditional third-movement form of the Classic 4-movement design, based on an aristocratic dance in 3/4 meter mode: a scale or key used in a musical composi ...
View printable PDF of 6.7 Contemporary Chords and Harmonic
... with note(s) a m2 away from root, 3rd, 5th, and/or 7th. Above: B§ (=Cb) is the split 5th. ...
... with note(s) a m2 away from root, 3rd, 5th, and/or 7th. Above: B§ (=Cb) is the split 5th. ...
James Sully extract
... [228] The links of association now considered appear to invest music with three kinds of representative character. First of all, by the simplest process of association, musical tones seem to typify vocal action itself, viewed as a conscious play of muscular energy. Secondly, by a further process, th ...
... [228] The links of association now considered appear to invest music with three kinds of representative character. First of all, by the simplest process of association, musical tones seem to typify vocal action itself, viewed as a conscious play of muscular energy. Secondly, by a further process, th ...
Document
... When a triad is in root position double the bass Each chord should contain two roots, one third and one fifth The voices should be in normal distribution…not crossed The interval between adjacent upper voices should not exceed and 8ve Step-wise motion should predominate in leading voices f ...
... When a triad is in root position double the bass Each chord should contain two roots, one third and one fifth The voices should be in normal distribution…not crossed The interval between adjacent upper voices should not exceed and 8ve Step-wise motion should predominate in leading voices f ...
ROCKY FORD CURRICULUM GUIDE SUBJECT: Music GRADE: 3
... and harmonic patterns 1. Expression 2. Perform extended rhythmic, melodic, and harmonic patterns 2. Creation 1. Create short musical phrases and patterns ...
... and harmonic patterns 1. Expression 2. Perform extended rhythmic, melodic, and harmonic patterns 2. Creation 1. Create short musical phrases and patterns ...
Analysis File - The Parker E
... 4. Describe the basic outline and structure of this piece 5. How are contrasting moods achieved in sections A and B? 6. Name 2 keyboard technique used in the music 7. Name the 2 main keys used in this piece 8. Which note is used throughout the piece as a representation of ...
... 4. Describe the basic outline and structure of this piece 5. How are contrasting moods achieved in sections A and B? 6. Name 2 keyboard technique used in the music 7. Name the 2 main keys used in this piece 8. Which note is used throughout the piece as a representation of ...
Nick Drake and the Baroque Characteristics of His Music
... Born in the British Colony of Burma in 1948 and brought up in the English countryside of Warwickshire, Nick Drake has become one of the most influential and celebrated folk artists of the twentieth century. Strangely enough, the popularity his music enjoys now was not gained until thirty years after ...
... Born in the British Colony of Burma in 1948 and brought up in the English countryside of Warwickshire, Nick Drake has become one of the most influential and celebrated folk artists of the twentieth century. Strangely enough, the popularity his music enjoys now was not gained until thirty years after ...
2017 Spring meeting PROGRAM - American Musicological Society
... strengthen perceptions of jazz as high art, early jazz criticism, and later the young field of jazz studies, often presented Duke Ellington as a remarkably strong individual composer. While this narrative served an important twentieth-century purpose in celebrating his art in particular and the broa ...
... strengthen perceptions of jazz as high art, early jazz criticism, and later the young field of jazz studies, often presented Duke Ellington as a remarkably strong individual composer. While this narrative served an important twentieth-century purpose in celebrating his art in particular and the broa ...
... · Concept 1: Singing, alone and with others, music from various genres and diverse cultures. · Concept 2: Playing instruments, alone and with others, music from various genres and diverse cultures. · Concept 3: Improvising rhythms, melodies, variations, and accompaniments. · Concept 4: Composing ...
The concerto
... ! Outside music, the word ‘classical’ is used to describe the architectural styles of ancient Greece and Rome, with their emphasis on simplicity, line, balance and order ! We also use the term to d ...
... ! Outside music, the word ‘classical’ is used to describe the architectural styles of ancient Greece and Rome, with their emphasis on simplicity, line, balance and order ! We also use the term to d ...
JAMation Teaching Resource
... lyrical tunes of the piece. A2 and A5 are chordal and can be played as they are, or split through an instrumental group to create a sustained sound (brass, for example). A4 works well treated as a bass line or a melody line. A3 enters in the fourth bar and can, at some stage in the piece, make a goo ...
... lyrical tunes of the piece. A2 and A5 are chordal and can be played as they are, or split through an instrumental group to create a sustained sound (brass, for example). A4 works well treated as a bass line or a melody line. A3 enters in the fourth bar and can, at some stage in the piece, make a goo ...
Indian Classical Music
... The jhor – in this second section the music speeds up a bit. It’s still just the sitar and tambura player, but the music gets more rhythmic, and the melody improvised by the sitar player takes on a steady beat The jhala – this section is loads faster than the alap and jhor, and feels a lot more exci ...
... The jhor – in this second section the music speeds up a bit. It’s still just the sitar and tambura player, but the music gets more rhythmic, and the melody improvised by the sitar player takes on a steady beat The jhala – this section is loads faster than the alap and jhor, and feels a lot more exci ...
Voice-Leading Guidelines:
... Cadential: The bass steps or leaps into 5 degree, stays on 5 , then leaps to tonic; the chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at ...
... Cadential: The bass steps or leaps into 5 degree, stays on 5 , then leaps to tonic; the chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at ...
CADENCES AND PHRASES
... logical motion that works towards an inevitable goal. The number of phrases in a period can vary, but for our basic purpose, we will assume that there are four per period. Here is a basic example of a four-phrase period (remember that a phrase ends with a cadence): ~~~~~~~~~phrase 1~~~~~~~~ plagal c ...
... logical motion that works towards an inevitable goal. The number of phrases in a period can vary, but for our basic purpose, we will assume that there are four per period. Here is a basic example of a four-phrase period (remember that a phrase ends with a cadence): ~~~~~~~~~phrase 1~~~~~~~~ plagal c ...
Guidelines for the Analysis of Twentieth
... Material is often radically transformed, compressed, or expanded if it reappears at all. C. Traditional forms do occur rather frequently, but often their articulation depends not on tonal criteria, as before, but on non-pitch-related aspects of music: tempo, rhythmic characteristics, dynamics, timbr ...
... Material is often radically transformed, compressed, or expanded if it reappears at all. C. Traditional forms do occur rather frequently, but often their articulation depends not on tonal criteria, as before, but on non-pitch-related aspects of music: tempo, rhythmic characteristics, dynamics, timbr ...
Elements_lecs_Chs1-6_musmaj
... Patronage: from royal courts to brothel owners to multinational recording ...
... Patronage: from royal courts to brothel owners to multinational recording ...
Tonic and Dominant
... HARMONIZE THE FOLLOWING… • Harmonize the following soprano examples using the voicing as indicated. All chords are moving V - I ...
... HARMONIZE THE FOLLOWING… • Harmonize the following soprano examples using the voicing as indicated. All chords are moving V - I ...
Other diatonic 7th chords
... Music 232 Chapter 15, Other Seventh Chords These notes are a distillation of Kostka/Payne's Tonal Harmony. They are in no way a substitute for reading and working through the actual text book. Overview The IV7, VI7, I7 and III7 chords follow the same voice leading tendencies as the more frequently-u ...
... Music 232 Chapter 15, Other Seventh Chords These notes are a distillation of Kostka/Payne's Tonal Harmony. They are in no way a substitute for reading and working through the actual text book. Overview The IV7, VI7, I7 and III7 chords follow the same voice leading tendencies as the more frequently-u ...
Hungarian Folk Music And Jazz: Exploring New
... natural trend in its progression over the last hundred years, from early dixieland, swing, and bebop, to free jazz and the avante guarde, funk, fusion, and all increments in between. Each style building on its previous and its parallel, or dramatically responding to it in an artistically logical way ...
... natural trend in its progression over the last hundred years, from early dixieland, swing, and bebop, to free jazz and the avante guarde, funk, fusion, and all increments in between. Each style building on its previous and its parallel, or dramatically responding to it in an artistically logical way ...
MUSIC APPRECIATION
... What is the Italian word and English meaning for the musical symbol ‘ff’? What is the Italian word for music that gradually becomes louder? What are the two Italian words for music that gradually becomes softer? What is the scientific term for ‘timbre’? What does a coherent succession of pitches cre ...
... What is the Italian word and English meaning for the musical symbol ‘ff’? What is the Italian word for music that gradually becomes louder? What are the two Italian words for music that gradually becomes softer? What is the scientific term for ‘timbre’? What does a coherent succession of pitches cre ...
Dana Suesse. - Wild Women of Song
... collaboration came a few more enduring standards: "The Night Is Young and You're So Beautiful" (with Irving Kahal), and "Yours for a Song" (with Ted Fetter). During this same breathtaking period she collaborated again with Edward Heyman on "You Oughta Be in Pictures," which the New York Times called ...
... collaboration came a few more enduring standards: "The Night Is Young and You're So Beautiful" (with Irving Kahal), and "Yours for a Song" (with Ted Fetter). During this same breathtaking period she collaborated again with Edward Heyman on "You Oughta Be in Pictures," which the New York Times called ...
What to Listen For
... ■ Melody in a narrow range; built on a pentatonic scale Listen to the melody of this spiritual, which has a narrow range and is built on a scale of five notes, or a pentatonic scale: [0:00– 0:22]. ...
... ■ Melody in a narrow range; built on a pentatonic scale Listen to the melody of this spiritual, which has a narrow range and is built on a scale of five notes, or a pentatonic scale: [0:00– 0:22]. ...
Tonal Harmony Chapter 22 Augmented Sixth Chord
... o The minor-mode 6th (chromatically lowered if in a major key) appears in the bass o The #4th is in an upper part The interval of an +6 formed by these pitches is enharmonically equivalent to a m7, but the difference between the effect of the +6 and that of the m7 is easily detected by the ear m7 te ...
... o The minor-mode 6th (chromatically lowered if in a major key) appears in the bass o The #4th is in an upper part The interval of an +6 formed by these pitches is enharmonically equivalent to a m7, but the difference between the effect of the +6 and that of the m7 is easily detected by the ear m7 te ...
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.