How Music Works I
... Harmony = a chord that “makes sense” in the context of its musical style Chord progression = a sequence of chords (CD 1-27 – bossa nova) Harmonization (in this text): each note of a melody becomes basis of a chord (CD 1-11 – Fijian church hymn) ...
... Harmony = a chord that “makes sense” in the context of its musical style Chord progression = a sequence of chords (CD 1-27 – bossa nova) Harmonization (in this text): each note of a melody becomes basis of a chord (CD 1-11 – Fijian church hymn) ...
Block Class Revision 2015 Set A
... Imperfect I – V - found in the middle – never at end. ii – V- found in the middle – never at end. IV-V- found in the middle – never at end. Interrupted V-vi- found in the middle – never at end. Never repeat the same chord twice in a row. Don’t forget little m for minor and b for Bb and Eb chords. Me ...
... Imperfect I – V - found in the middle – never at end. ii – V- found in the middle – never at end. IV-V- found in the middle – never at end. Interrupted V-vi- found in the middle – never at end. Never repeat the same chord twice in a row. Don’t forget little m for minor and b for Bb and Eb chords. Me ...
THE Romantic Era 4
... The Virtuoso Performer • The performer (rather than the composer) became the star of many pieces. • The virtuoso performer would amaze their audience with their technical ability on their instrument (most often piano or violin). • Many composers wrote virtuosic pieces often for particular perfo ...
... The Virtuoso Performer • The performer (rather than the composer) became the star of many pieces. • The virtuoso performer would amaze their audience with their technical ability on their instrument (most often piano or violin). • Many composers wrote virtuosic pieces often for particular perfo ...
music vocabulary
... EX: 2 / 4 (two beats per measure and a quarter note gets one beat) A symbol used on a musical staff (five lines) to show highsounding notes that could be sung by a soprano voice or played by a high sounding instrument like a violin, flute, or trumpet ...
... EX: 2 / 4 (two beats per measure and a quarter note gets one beat) A symbol used on a musical staff (five lines) to show highsounding notes that could be sung by a soprano voice or played by a high sounding instrument like a violin, flute, or trumpet ...
bios - Hartford Jazz Society
... Continuous musical dialogue amongst great musicians is a major source of inspiration for Joe. Composition is another indispensable component to Joe’s musical world. A strong melodic sense and the use of the bass part as both function and counterpoint are apparent in his writing. His debut CD Passage ...
... Continuous musical dialogue amongst great musicians is a major source of inspiration for Joe. Composition is another indispensable component to Joe’s musical world. A strong melodic sense and the use of the bass part as both function and counterpoint are apparent in his writing. His debut CD Passage ...
Chapter Fourteen
... alters it in some way but we still recognize (mostly) the original idea. For example, the two “b” phrases of “Silent Night”—the notes move in the same direction and have the same rhythm, but the second “b” starts one note lower than the first one. Here is an example of a C major scale and then a var ...
... alters it in some way but we still recognize (mostly) the original idea. For example, the two “b” phrases of “Silent Night”—the notes move in the same direction and have the same rhythm, but the second “b” starts one note lower than the first one. Here is an example of a C major scale and then a var ...
National 5 Musical Periods and Styles
... Motif A opens the movement. It is a short fanfare played by three clarinets, a bass clarinet and three bassoons. Notice the use of triplets and the six different pitches. The dynamic is forte (loud) with a crescendo. Motif A is immediately followed by a short chromatic scale played by three muted tr ...
... Motif A opens the movement. It is a short fanfare played by three clarinets, a bass clarinet and three bassoons. Notice the use of triplets and the six different pitches. The dynamic is forte (loud) with a crescendo. Motif A is immediately followed by a short chromatic scale played by three muted tr ...
Notation Note lengths and rests from semibreve to semiquaver
... Note lengths and rests from semibreve to semiquaver including dotted notes and triplets Pitch names and their places on the treble clef from GI to CII Stave, score Treble and bass clefs Bar and double bar lines, repeat marks Key signatures and keys up to at least three sharps and flats Time signatur ...
... Note lengths and rests from semibreve to semiquaver including dotted notes and triplets Pitch names and their places on the treble clef from GI to CII Stave, score Treble and bass clefs Bar and double bar lines, repeat marks Key signatures and keys up to at least three sharps and flats Time signatur ...
38. Schubert Der Doppelgänger Background information and performance circumstances 1
... • The prominent (German) augmented 6th chord (Bar 51) leading into the triple forte start of the extended Ic–V7–I perfect cadence at the end of verse 3. • The closing tonic pedal, giving a strong sense of finality, and the extremely quiet tierce de Picardie following the plagal inflection. Is this a ...
... • The prominent (German) augmented 6th chord (Bar 51) leading into the triple forte start of the extended Ic–V7–I perfect cadence at the end of verse 3. • The closing tonic pedal, giving a strong sense of finality, and the extremely quiet tierce de Picardie following the plagal inflection. Is this a ...
Glossary
... Music that is the same, or almost the same, as music that was heard earlier. Rest Silence between musical sounds. Rhythm The organisation of beat, no beat, long and short sounds, metre, tempo, etc. Rhythm pattern A group of long and short sounds, even or uneven sounds. Score All the parts of a piece ...
... Music that is the same, or almost the same, as music that was heard earlier. Rest Silence between musical sounds. Rhythm The organisation of beat, no beat, long and short sounds, metre, tempo, etc. Rhythm pattern A group of long and short sounds, even or uneven sounds. Score All the parts of a piece ...
THE ELEMENTS OF MUSIC
... TEXTURE Texture refers to the number of individual musical lines (melodies) and the relationship these lines have to one another. Monophonic texture: One melody with no harmony—rarely used in rock music. Homophonic texture: This texture features two or more notes sounding at a the same time, but ge ...
... TEXTURE Texture refers to the number of individual musical lines (melodies) and the relationship these lines have to one another. Monophonic texture: One melody with no harmony—rarely used in rock music. Homophonic texture: This texture features two or more notes sounding at a the same time, but ge ...
Elements of Music
... Phrase: Most melodies are constructed so they can be divided into smaller sections – these are called phrases. Phrases are usually marked by a slight pause – like a comma in a sentence. ...
... Phrase: Most melodies are constructed so they can be divided into smaller sections – these are called phrases. Phrases are usually marked by a slight pause – like a comma in a sentence. ...
ROBERTO ROSENMAN QUARTET
... version of Gypsy Jazz: a style of music originating in 1930’s Paris with famed gypsy guitarist Django Reinhardt and the Hot Club of France. Composer and lead guitarist Roberto Rosenman mixes the sounds of swing Paris infusing them with modern jazz influences from the Be-bop era. The Quartet consists ...
... version of Gypsy Jazz: a style of music originating in 1930’s Paris with famed gypsy guitarist Django Reinhardt and the Hot Club of France. Composer and lead guitarist Roberto Rosenman mixes the sounds of swing Paris infusing them with modern jazz influences from the Be-bop era. The Quartet consists ...
Chapter Five: Baroque Art and Music
... – Expressive, sometimes extravagant melody – Strong supporting bass ...
... – Expressive, sometimes extravagant melody – Strong supporting bass ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... a minor second away; e.g., C-E-G-G# = C(5!) structural placement / formal placement of chords tone cluster -- secundal harmonies in which the notes are placed adjacent to one another whole-tone chord -- any chord whose members could be obtained from a single whole-tone scale ...
... a minor second away; e.g., C-E-G-G# = C(5!) structural placement / formal placement of chords tone cluster -- secundal harmonies in which the notes are placed adjacent to one another whole-tone chord -- any chord whose members could be obtained from a single whole-tone scale ...
listening guide: holst`s the planets – mars, `the bringer of war`
... It’s driven by a single repeating pattern - or ostinato that dominates the entire movement. The music is scored at the less conventional 5/4 time signature - with five beats in each bar. As Westerners, we seem genetically programmed to feel four beats in a bar as more natural – so 5/4 immediately pu ...
... It’s driven by a single repeating pattern - or ostinato that dominates the entire movement. The music is scored at the less conventional 5/4 time signature - with five beats in each bar. As Westerners, we seem genetically programmed to feel four beats in a bar as more natural – so 5/4 immediately pu ...
jazz and improvised music
... Guillaume Dostaler’s piano chording, while also suggesting earlier pastoral themes. Meantime Goldstein plus two additional violinists and one violist scratch out cunning string splays that provide a circumscribed framework for the performance as it builds to a polyphonic crescendo. Invested with kwe ...
... Guillaume Dostaler’s piano chording, while also suggesting earlier pastoral themes. Meantime Goldstein plus two additional violinists and one violist scratch out cunning string splays that provide a circumscribed framework for the performance as it builds to a polyphonic crescendo. Invested with kwe ...
1 Terms and Definitions Characteristics of Modern and Postmodern
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
Higher Concepts - Dunblane High School Music Website
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
Higher Concepts Higher Music Listening 2014 Onwards Music
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
Higher Concepts - Garnock Academy
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
... Little return. A 17th-century term for a brief introduction or interlude in a vocal composition, or for a brief instrumental passage between scenes in a 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino ...
Introduction to Music: Musical Forms
... variations in the 19th cent . often employed popular tunes or opera melodies; variation form was also commonly used in symphonies , quartets , and sonatas . It declined in importance after the Classical era , but has never ceased to be employed by important composers . ...
... variations in the 19th cent . often employed popular tunes or opera melodies; variation form was also commonly used in symphonies , quartets , and sonatas . It declined in importance after the Classical era , but has never ceased to be employed by important composers . ...
Introduction Part 1: Reaction to Impressionism
... The 20th century in classical music was extremely varied stylistically, thus there was no dominant style. A major element of this music is the increased use of dissonance; hence, the 20th century can also be referred to as the “Dissonant Period” of classical music as much of this music was a reactio ...
... The 20th century in classical music was extremely varied stylistically, thus there was no dominant style. A major element of this music is the increased use of dissonance; hence, the 20th century can also be referred to as the “Dissonant Period” of classical music as much of this music was a reactio ...
scottish - Gryffe Music
... Dotted Quaver - A note that lasts for ¾ of a beat. A dot after a note increases the length of the note by half of its original length, so without the dot this note lasts for ½ beat, adding the dot means it is ½ + ¼ = ¾ beats. ...
... Dotted Quaver - A note that lasts for ¾ of a beat. A dot after a note increases the length of the note by half of its original length, so without the dot this note lasts for ½ beat, adding the dot means it is ½ + ¼ = ¾ beats. ...
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.