Stephanie Reusch Paper 2 Composers use several types of non
... the presentation of P by imitating the initial motive again. However, though he reminds the listener of stability by doing this, he also reminds the listener of the instable bass line of running 16th notes, this time suggesting new harmonies. Rather than just tonic and dominant harmonies like at P, ...
... the presentation of P by imitating the initial motive again. However, though he reminds the listener of stability by doing this, he also reminds the listener of the instable bass line of running 16th notes, this time suggesting new harmonies. Rather than just tonic and dominant harmonies like at P, ...
a performer`s analysis of liszt`s sonetto 47 del petrarca a creative
... wants a different color when the same theme is presented the second time. Liszt also uses longer pedaling to create expressive passages, such as in measure 89, where he indicates to hold the pedal through a strong chord then through a series of running eighth notes. This thickens the sound effect an ...
... wants a different color when the same theme is presented the second time. Liszt also uses longer pedaling to create expressive passages, such as in measure 89, where he indicates to hold the pedal through a strong chord then through a series of running eighth notes. This thickens the sound effect an ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... Goldenberg is the latest of many to weigh in on the subject. Within the Schenkerian tradition, we find represented a myriad of viewpoints on and interpretations of Schenker’s own stance (more on this below). Outside of the tradition (perhaps, more accurately, inhabiting an extended offshoot from it) ...
... Goldenberg is the latest of many to weigh in on the subject. Within the Schenkerian tradition, we find represented a myriad of viewpoints on and interpretations of Schenker’s own stance (more on this below). Outside of the tradition (perhaps, more accurately, inhabiting an extended offshoot from it) ...
Aspects of Singing Nazrul Sangeet
... off points from which singers could add to as they wish, similar to how Hindustani Classical2 musicians improvise passages over a bandish3. Even more intriguing is the process by which Nazrul finalized the melodies for his song texts. While working with record labels, Nazrul had particular singers i ...
... off points from which singers could add to as they wish, similar to how Hindustani Classical2 musicians improvise passages over a bandish3. Even more intriguing is the process by which Nazrul finalized the melodies for his song texts. While working with record labels, Nazrul had particular singers i ...
DISCOVERING CHORD IDIOMS THROUGH BEATLES AND REAL BOOK SONGS
... Although studying the use of specific chord types is in itself interesting, for discovering general chord idioms it ...
... Although studying the use of specific chord types is in itself interesting, for discovering general chord idioms it ...
Notes - Stanford University
... v with i and j. This property is true because i and j each have length equal to 1 and are perpendicular to each other, and the same property would be true if we take any two other perpendicular vectors of length 1. For instance, if we let a = √12 (1, 1) and b = √12 (−1, 1), then a and b have length ...
... v with i and j. This property is true because i and j each have length equal to 1 and are perpendicular to each other, and the same property would be true if we take any two other perpendicular vectors of length 1. For instance, if we let a = √12 (1, 1) and b = √12 (−1, 1), then a and b have length ...
Scelsi, De-composer
... very different from Scelsi’s in its sonority and structure, they share at least one trait: a similar attitude towards the phenomenon of sound. The connection between my music (and that of other spectral composers) and Scelsi’s lies in this attitude, more than in a comparable style or aesthetic; the ...
... very different from Scelsi’s in its sonority and structure, they share at least one trait: a similar attitude towards the phenomenon of sound. The connection between my music (and that of other spectral composers) and Scelsi’s lies in this attitude, more than in a comparable style or aesthetic; the ...
Dictionary of Musical Terms
... al fine....................... the end................................................. ________ ________ ahl- FEE-neh ...
... al fine....................... the end................................................. ________ ________ ahl- FEE-neh ...
Debussy - Nuages notes
... a central section that is based on its own thematic material. This is followed by a return to opening material. Rarely, though, does the return function as a literal recapitulation. Instead, the material continues to transform itself. Some analysts (like Howat and Parks) have identified what they co ...
... a central section that is based on its own thematic material. This is followed by a return to opening material. Rarely, though, does the return function as a literal recapitulation. Instead, the material continues to transform itself. Some analysts (like Howat and Parks) have identified what they co ...
AP Theory Syllabus - Chelmsford Public Schools
... between the three forms of minor scales? How can all the intervals be identified by ear and sight? What is good voice leading? What are the differences between basic musical forms? What are some methods for successful dictation? Course Objectives: At the end of this course, students should be able t ...
... between the three forms of minor scales? How can all the intervals be identified by ear and sight? What is good voice leading? What are the differences between basic musical forms? What are some methods for successful dictation? Course Objectives: At the end of this course, students should be able t ...
to read it in Microsoft Word
... Because both the soloing and the comping are based on the exact same scale or arpeggio, as outlined above, there tends to be a certain unity. The clusters used in comping come from whatever sounds good based on trial and error. Some intervals are more dissonant than others. I try to generally stay a ...
... Because both the soloing and the comping are based on the exact same scale or arpeggio, as outlined above, there tends to be a certain unity. The clusters used in comping come from whatever sounds good based on trial and error. Some intervals are more dissonant than others. I try to generally stay a ...
DOWNBEAT.COM MARCH 2016 U.K. £3.50
... A compliment from Chuck would make my day, week and month. His counsel was a gift. In my 26 years here, I have joked that I’m simply living Chuck Suber’s professional life—just three decades later. He left us a remarkable blueprint on how to cover jazz and run a magazine. With his mixture of passion ...
... A compliment from Chuck would make my day, week and month. His counsel was a gift. In my 26 years here, I have joked that I’m simply living Chuck Suber’s professional life—just three decades later. He left us a remarkable blueprint on how to cover jazz and run a magazine. With his mixture of passion ...
Modern harmony, its explanation and application - DMU
... swift current of modern musical art during the last ten or fifteen years seems at first glance to have ruthlessly swept away the whole of the theories of the past. The earnest student may well be excused if he is bewildered completely on rising up fresh from his theoretical treatises to plunge into ...
... swift current of modern musical art during the last ten or fifteen years seems at first glance to have ruthlessly swept away the whole of the theories of the past. The earnest student may well be excused if he is bewildered completely on rising up fresh from his theoretical treatises to plunge into ...
Concerto for Violin and Orchestra
... "For me, the soul of the violin shines through in the repertoire it has inspired, revealing a nature both sensuous and intellectual. While the tremendous athleticism of the violin can sometimes overshadow its deeper nature, [the violin] has shown itself capable of expressing the most profound aspect ...
... "For me, the soul of the violin shines through in the repertoire it has inspired, revealing a nature both sensuous and intellectual. While the tremendous athleticism of the violin can sometimes overshadow its deeper nature, [the violin] has shown itself capable of expressing the most profound aspect ...
class9#
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
Interactive Unit Planner - Arts Online
... the melodic ostinato pattern. This is what gives gamelan its characteristic heterophonic texture. Ostinato: there is a main melody that is repeated throughout, usually in a middle part. It is then doubled and decorated in an upper part. The large gongs often help to provide structure to the pieces b ...
... the melodic ostinato pattern. This is what gives gamelan its characteristic heterophonic texture. Ostinato: there is a main melody that is repeated throughout, usually in a middle part. It is then doubled and decorated in an upper part. The large gongs often help to provide structure to the pieces b ...
Predicting the root of a musical chord
... The first bar shows the third inversion of the C-major-dominant-seventh-chord with a tritone between {Bb3} and {E4} and a perfect fourth between {G4} and {C4}. In close layer (in the second bar) appears a major second between {Bb3} and {C4} – this is reason for it is called a second chord. Finally i ...
... The first bar shows the third inversion of the C-major-dominant-seventh-chord with a tritone between {Bb3} and {E4} and a perfect fourth between {G4} and {C4}. In close layer (in the second bar) appears a major second between {Bb3} and {C4} – this is reason for it is called a second chord. Finally i ...
Coming to Terms with Persichetti`s Pageant
... set for cornets and trombones, later augmented by trumpets and horns and handed over to a very full woodwind chorus reinforced by euphoniums and solo tuba. It is when these latter instruments take up the project, forte, at the upbeat to measure 63, that the head motive of the chorale is finally iden ...
... set for cornets and trombones, later augmented by trumpets and horns and handed over to a very full woodwind chorus reinforced by euphoniums and solo tuba. It is when these latter instruments take up the project, forte, at the upbeat to measure 63, that the head motive of the chorale is finally iden ...
Neo-Riemannian Theory and the Analysis of Pop
... harmonic reductions, not transcriptions. The pitches shown represent the pitches as performed; voice leading and register have not been normalized. I omit non-chord tones, surface rhythms, and repetitions of chords. The notated durations represent the number of beats each harmony sounds, which is no ...
... harmonic reductions, not transcriptions. The pitches shown represent the pitches as performed; voice leading and register have not been normalized. I omit non-chord tones, surface rhythms, and repetitions of chords. The notated durations represent the number of beats each harmony sounds, which is no ...
1. Historical definitions.
... Since the 17th century, keys have been constituted by note relationships as well as by constructional means. Taken in itself, a major or minor scale is not sufficient to define a key; the fact that a chord progression remains within the bounds of a major scale in no way precludes the possibility of ...
... Since the 17th century, keys have been constituted by note relationships as well as by constructional means. Taken in itself, a major or minor scale is not sufficient to define a key; the fact that a chord progression remains within the bounds of a major scale in no way precludes the possibility of ...
The Motive - AState.edu
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
Concert Choir
... indicators of musical style. (9-12.Mu.3.3.4) The relationship of rhythmic patterns aids in the expression of musical ideas. (9-12.Mu.3.3.4) Manipulating rhythm creates patterns. (9-12.Mu.3.3.1) Distinct rhythmic patterns are indicators of musical style. (9-12.Mu.3.3.4) Individuals within a p ...
... indicators of musical style. (9-12.Mu.3.3.4) The relationship of rhythmic patterns aids in the expression of musical ideas. (9-12.Mu.3.3.4) Manipulating rhythm creates patterns. (9-12.Mu.3.3.1) Distinct rhythmic patterns are indicators of musical style. (9-12.Mu.3.3.4) Individuals within a p ...
Judi Silvano Quotes
... Judi Silvano sings with impressive phrasing – gently bending the lyrics and stamping it with her own identity. You can hear the smile in her voice and Silvano sounds confident as she delightfully brings these songs to life. - Jazz Inside Magazine Not only is she an excellent singer, but she also com ...
... Judi Silvano sings with impressive phrasing – gently bending the lyrics and stamping it with her own identity. You can hear the smile in her voice and Silvano sounds confident as she delightfully brings these songs to life. - Jazz Inside Magazine Not only is she an excellent singer, but she also com ...
The Beat Spectrum: A new approach to rhythm analysis
... Because B(k,l) is symmetric, it is only necessary to sum over one variable, giving the one-dimensional result B(l). This approach works surprisingly well across a range of musical genres, tempos, and rhythmic structures. Figure 3 shows the beat spectrum computed from the first 10 seconds of the jazz ...
... Because B(k,l) is symmetric, it is only necessary to sum over one variable, giving the one-dimensional result B(l). This approach works surprisingly well across a range of musical genres, tempos, and rhythmic structures. Figure 3 shows the beat spectrum computed from the first 10 seconds of the jazz ...
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.