ap® music theory 2015 scoring guidelines
... 1. Score each phrase separately and then add the phrase scores together to arrive at a preliminary tally for the entire question. 2. Before deciding on the final score for the entire question, consider giving an extra point to responses that are extremely good or those that would otherwise receive a ...
... 1. Score each phrase separately and then add the phrase scores together to arrive at a preliminary tally for the entire question. 2. Before deciding on the final score for the entire question, consider giving an extra point to responses that are extremely good or those that would otherwise receive a ...
Choral Scope and Sequence
... Demonstrate proper balance, blend, and intonation in an ensemble setting Demonstrate complex musical phrasing (staggered breathing) Demonstrate musical expression and sensitivity in performances Describe, analyze, and create music. Describe music using appropriate musical terminology ...
... Demonstrate proper balance, blend, and intonation in an ensemble setting Demonstrate complex musical phrasing (staggered breathing) Demonstrate musical expression and sensitivity in performances Describe, analyze, and create music. Describe music using appropriate musical terminology ...
This Worldes Joie Part 4 analysis
... The final octatonic chord on A moves (via a harp glissando) to Eb, a tritone away. As will be seen below, the opening music of the last movement is octatonic, and the punctuating chords in the third movement’s coda could be considered a means of “grounding” the music, giving it a sense of tonality t ...
... The final octatonic chord on A moves (via a harp glissando) to Eb, a tritone away. As will be seen below, the opening music of the last movement is octatonic, and the punctuating chords in the third movement’s coda could be considered a means of “grounding” the music, giving it a sense of tonality t ...
Reverse Engineering the Sound of Jazz
... The resulting frequency spectra were calculated as in Section 2. For each test spectrum, the closest reference symphonic or jazz spectrum was found, and the test spectrum was given the same label. A total of 12 reference spectra were used, 6 jazz and 6 symphonic. Of the 87 A5 mouthpiece pitch test s ...
... The resulting frequency spectra were calculated as in Section 2. For each test spectrum, the closest reference symphonic or jazz spectrum was found, and the test spectrum was given the same label. A total of 12 reference spectra were used, 6 jazz and 6 symphonic. Of the 87 A5 mouthpiece pitch test s ...
FREE Sample Here - We can offer most test bank and
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
Bi-tonal Quartal Harmony
... Bi-‐Tonal Quartal Harmony introduces a “bi-‐tonal” relationship, which expands the intervallic vocabulary considerably, and allows for the use of non-‐ diatonic harmonies with considerable control, and a broader spe ...
... Bi-‐Tonal Quartal Harmony introduces a “bi-‐tonal” relationship, which expands the intervallic vocabulary considerably, and allows for the use of non-‐ diatonic harmonies with considerable control, and a broader spe ...
File - Harris Ac Music
... chord consists of the intervals of a major third and a minor third. Sometimes other notes are added. In the C Major chord example above a 6th (A) has been added. This additional note changes the sound of the chord significantly. ...
... chord consists of the intervals of a major third and a minor third. Sometimes other notes are added. In the C Major chord example above a 6th (A) has been added. This additional note changes the sound of the chord significantly. ...
FREE Sample Here
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
Giorgio Sanguinetti, The Art of Partimento
... On the contrary, I think that in essence they are so closely related that much of the material in The Art of Partimento can be used in continuo accompaniment as well, both in terms of harmony and of texture. I will illustrate this point with examples that demonstrate how partimento techniques had be ...
... On the contrary, I think that in essence they are so closely related that much of the material in The Art of Partimento can be used in continuo accompaniment as well, both in terms of harmony and of texture. I will illustrate this point with examples that demonstrate how partimento techniques had be ...
Proficiencies—Piano Student Name: First Last Course Number
... notes. Errors do not disrupt flow of excerpt. ☐All parts are played simultaneously with the presence of some wrong notes. Errors do not disrupt flow of excerpt. ☐Accompanist able to follow the solo line. ...
... notes. Errors do not disrupt flow of excerpt. ☐All parts are played simultaneously with the presence of some wrong notes. Errors do not disrupt flow of excerpt. ☐Accompanist able to follow the solo line. ...
melody - Test Bank 1
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
Possible Paths - Music Theory Online
... depicts the group. The 8/4, 4/8, and 6/6 schemata have a primary division: they create a level of phrase structure between the 4/4/4 hypermeter and the twelve-measure chorus. 4/4/4 and TC do not exhibit any obvious phrase structure beyond the hypermetrical level. The schemata are defined exhaustivel ...
... depicts the group. The 8/4, 4/8, and 6/6 schemata have a primary division: they create a level of phrase structure between the 4/4/4 hypermeter and the twelve-measure chorus. 4/4/4 and TC do not exhibit any obvious phrase structure beyond the hypermetrical level. The schemata are defined exhaustivel ...
6 Schoenberg`s `second melody`, or, `Meyer
... line into the cadential stream for further ascent to the dominant, the melodic goal of that stream. Bass-line closure is achieved when, in the context of a formal authentic cadence, the dominant leaps back to the tonic, thus creating a harmonic connection linking the two streams and purging the bass ...
... line into the cadential stream for further ascent to the dominant, the melodic goal of that stream. Bass-line closure is achieved when, in the context of a formal authentic cadence, the dominant leaps back to the tonic, thus creating a harmonic connection linking the two streams and purging the bass ...
PDF - UNT Digital Library
... may, however, have a "root representative" which is the tone which proceeds by the smallest step to the root of the resolution interval. 7 Hindemith8 insists that the conventional theory of harmony is far too limited in its system for the determination and interpretation of chords. ...
... may, however, have a "root representative" which is the tone which proceeds by the smallest step to the root of the resolution interval. 7 Hindemith8 insists that the conventional theory of harmony is far too limited in its system for the determination and interpretation of chords. ...
Music Man, Meredith Willson, musical analysis Abstract: The song
... be an asset. It might, for example, lead someone to spend six years producing 40 drafts of a musical based on his childhood memories. It also explains a great deal about the genesis of The Music Man, as well as the plot, the dialogue, and even the music. As the musical has received almost no scholar ...
... be an asset. It might, for example, lead someone to spend six years producing 40 drafts of a musical based on his childhood memories. It also explains a great deal about the genesis of The Music Man, as well as the plot, the dialogue, and even the music. As the musical has received almost no scholar ...
- Kingston University Research Repository
... notes and pitches outside this tuning that creates such a distinctive harmonic and timbral result. It is helpful to treat these chords as functioning much more as a series of contrasting timbres than as harmonic progressions, as is the case with Messiaen’s approach to harmony. There are several ways ...
... notes and pitches outside this tuning that creates such a distinctive harmonic and timbral result. It is helpful to treat these chords as functioning much more as a series of contrasting timbres than as harmonic progressions, as is the case with Messiaen’s approach to harmony. There are several ways ...
Télécharger le pdf
... few ornamental pitches: for example, the B in voice 1 and the D in voice 3, both on page 2, first and second measures, are ornamental pitches outside the mode, decorating the sustained chords. While most of the chords heard in choir 2 in the first part of section I are derived from melody 1, the sec ...
... few ornamental pitches: for example, the B in voice 1 and the D in voice 3, both on page 2, first and second measures, are ornamental pitches outside the mode, decorating the sustained chords. While most of the chords heard in choir 2 in the first part of section I are derived from melody 1, the sec ...
dreams and trance - UCI Social Sciences
... Nyamaropa, many of which may be known by specific qualifying names. Other examples are clearly borrowed or based on Nyamaropa, for example, the composition Mahororo is recognized as a separate piece both by Hakurotwi Muude and Gwanzura Gwenzi, but simply called another version of Nyamaropa by Muchete ...
... Nyamaropa, many of which may be known by specific qualifying names. Other examples are clearly borrowed or based on Nyamaropa, for example, the composition Mahororo is recognized as a separate piece both by Hakurotwi Muude and Gwanzura Gwenzi, but simply called another version of Nyamaropa by Muchete ...
AP Music Theory Syllabus
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterpreted as a Ger+6 chord in the new key The reverse is also possible In the majority of cases, the co ...
... modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterpreted as a Ger+6 chord in the new key The reverse is also possible In the majority of cases, the co ...
PDF text - Music Theory Online
... [2.3] Whereas none of the transformation types represented in Tables 1 and 2 connects seventh chords that are diatonically related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 ...
... [2.3] Whereas none of the transformation types represented in Tables 1 and 2 connects seventh chords that are diatonically related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 ...
Pump Audio Genre Guide
... • Similar Genres: Classical-Baroque, Classical-Romantic, Drama-Cinematic Classical-Classical Orchestral — The Classical period began in the second half of the eighteenth century and was largely brought about by Franz Joseph Haydn, who later taught Beethoven and had personal influence on Mozart. The ...
... • Similar Genres: Classical-Baroque, Classical-Romantic, Drama-Cinematic Classical-Classical Orchestral — The Classical period began in the second half of the eighteenth century and was largely brought about by Franz Joseph Haydn, who later taught Beethoven and had personal influence on Mozart. The ...
Glossary of Common Musical Terms and Concepts
... motive - a short melodic or rhythmic phrase which is used to construct a theme sequence - a short musical phrase repeated either a step above or below ostinato - a repeated rhythmic or melodic motive, often used as an acommpaniment phrase - a musical 'sentence' expressing one idea question and answe ...
... motive - a short melodic or rhythmic phrase which is used to construct a theme sequence - a short musical phrase repeated either a step above or below ostinato - a repeated rhythmic or melodic motive, often used as an acommpaniment phrase - a musical 'sentence' expressing one idea question and answe ...
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.