Using bagpipe.tex
... (if you invoke \noautoglue, see below), but if all your parts are on bagpipe, you can use \multipart{n} where n is the number of parts. Note that \multipart{1} is a simple way of setting the options for the newgrace note scheme and no autoglue. If you are content to line up only the beginning of th ...
... (if you invoke \noautoglue, see below), but if all your parts are on bagpipe, you can use \multipart{n} where n is the number of parts. Note that \multipart{1} is a simple way of setting the options for the newgrace note scheme and no autoglue. If you are content to line up only the beginning of th ...
final paper - Smith College
... to compose a waltz or a slurred note with two dice, without being musically gifted, nor knowing anything about composition" W.A. Mozart1 In the late 1700's, some musicians and composers enjoyed creating dice games that would allow people to create different melodies by randomly putting together musi ...
... to compose a waltz or a slurred note with two dice, without being musically gifted, nor knowing anything about composition" W.A. Mozart1 In the late 1700's, some musicians and composers enjoyed creating dice games that would allow people to create different melodies by randomly putting together musi ...
File
... melodies in the violin and the viola, and sustains them in longer durations. The cello’s harmonics give a pale colour to the sound and surround it with a warm acoustical halo. The melody in this section is played twice, moving from a general ∑ (bars 108–123) to a savage ∂ in the repetition (bars 124 ...
... melodies in the violin and the viola, and sustains them in longer durations. The cello’s harmonics give a pale colour to the sound and surround it with a warm acoustical halo. The melody in this section is played twice, moving from a general ∑ (bars 108–123) to a savage ∂ in the repetition (bars 124 ...
AFMM 2015 review - The Stereo Society
... rhythmic fragments. It had a very through development, very characteristic of a fantasy, with continuous successions of heterogeneous rhythmic and harmonic units. At the same time, it did not resemble an improvisation for the instrument, since its development was a very coherent one. It made ample u ...
... rhythmic fragments. It had a very through development, very characteristic of a fantasy, with continuous successions of heterogeneous rhythmic and harmonic units. At the same time, it did not resemble an improvisation for the instrument, since its development was a very coherent one. It made ample u ...
MONOPHONIC!AND! POLYPHONIC!MUSIC!
... One!way!to!remember!the!term!polyphonic!is!to!consider!its!parts:! “poly”!+!“phonic”!=!“polyphonic”! “many”!!!!!+!“sounds”!=!“many!sounds”!(two!or!more!melodies)! Remember,!polyphonic!texture!consists!of!several!melodies!performed!together!at!the! same!time.! Polyphonic!music!can!be:! ...
... One!way!to!remember!the!term!polyphonic!is!to!consider!its!parts:! “poly”!+!“phonic”!=!“polyphonic”! “many”!!!!!+!“sounds”!=!“many!sounds”!(two!or!more!melodies)! Remember,!polyphonic!texture!consists!of!several!melodies!performed!together!at!the! same!time.! Polyphonic!music!can!be:! ...
11 – Music temperament and pitch
... of a sound. These people, who are said to have the „absolute pitch“, can tell what key has been hit on a piano without looking at it. The human ear and brain is much more sensitive to the relations between the frequencies of two or more sounds, the music intervals. The intervals carry emotional cont ...
... of a sound. These people, who are said to have the „absolute pitch“, can tell what key has been hit on a piano without looking at it. The human ear and brain is much more sensitive to the relations between the frequencies of two or more sounds, the music intervals. The intervals carry emotional cont ...
Clarinet Warm-Up
... Keeping things the same tempo everyday seems to help with overall consistency in performance. Play a chromatic scale in long tones. Set the metronome at 60 and play each note for four counts breathing every four notes for four counts. This means that one is forced to exhale for 16 seconds without a ...
... Keeping things the same tempo everyday seems to help with overall consistency in performance. Play a chromatic scale in long tones. Set the metronome at 60 and play each note for four counts breathing every four notes for four counts. This means that one is forced to exhale for 16 seconds without a ...
Recorder Miscellany
... Traditionally the Recorder has not been treated as a transposing instrument, this is because historically all players were expected to use the same score and be freely able to switch from one size of instrument to another (without transposed scores being required). This tradition has continued with ...
... Traditionally the Recorder has not been treated as a transposing instrument, this is because historically all players were expected to use the same score and be freely able to switch from one size of instrument to another (without transposed scores being required). This tradition has continued with ...
Pitch Symbols. Pitch Symbols indicate pitch within a 13 note scale
... Designing a notational system that worked in a variety of situations was the biggest challenge. Since the notational system needed to have the ability to notate past music some rules did carry over. For example the division of an “octave” into even half steps remained. However, rather than using acc ...
... Designing a notational system that worked in a variety of situations was the biggest challenge. Since the notational system needed to have the ability to notate past music some rules did carry over. For example the division of an “octave” into even half steps remained. However, rather than using acc ...
Investigate the mathematics behind the tuning systems of Wendy
... that key, but we can’t modulate (meaning start to play in another key) because some pitches will be dissonant with the new tonic. So with the classic 12 notes per octave, we can play in one key only. Wendy Carlos invented a ’super-just’ scale in the sense that it extends just intonation, beyond 5-li ...
... that key, but we can’t modulate (meaning start to play in another key) because some pitches will be dissonant with the new tonic. So with the classic 12 notes per octave, we can play in one key only. Wendy Carlos invented a ’super-just’ scale in the sense that it extends just intonation, beyond 5-li ...
Let`s start! - WordPress.com
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
Computer models for algorithmic composition
... individuals population (e.g. music patterns), which as a result of the reproduction and mutation of the selected individuals evolves in time to the next generation solutions. A critical element of this process is a fitness function whose definition is a complex problem and because of this an approac ...
... individuals population (e.g. music patterns), which as a result of the reproduction and mutation of the selected individuals evolves in time to the next generation solutions. A critical element of this process is a fitness function whose definition is a complex problem and because of this an approac ...
Musical Concepts
... Expressive techniques refer to the way a performer plays a piece of music. The composer indicates specific details and techniques to guide the musician’s performance. These directions help portray the style of the music. Expressive techniques are coupled with dynamics; without these features to give ...
... Expressive techniques refer to the way a performer plays a piece of music. The composer indicates specific details and techniques to guide the musician’s performance. These directions help portray the style of the music. Expressive techniques are coupled with dynamics; without these features to give ...
Vocal Techniques
... Melody: A sequence of single notes played to form a meaningful pattern; jazz songs generally have one melody that serves as the songs theme. (See also counter melody) Modulation: A music technique that changes tonic pitches within or between musical phrases. A singer must be aware of these modulati ...
... Melody: A sequence of single notes played to form a meaningful pattern; jazz songs generally have one melody that serves as the songs theme. (See also counter melody) Modulation: A music technique that changes tonic pitches within or between musical phrases. A singer must be aware of these modulati ...
Music Craft - AMEB Online Exams
... onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. These works will track with the scale types and the harmony co ...
... onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. These works will track with the scale types and the harmony co ...
1. Title: Pitch Synchrony in Live with Regis and
... In a transcription of a typical conversation on the Live with Regis and Kathie Lee show, Regis' first phrase is continued by Kathie Lee in dovetail fashion, with Kathie Lee supplying the seventh of the minor sonority outlined by Regis. In other words, her entering pitch was harmonically related to R ...
... In a transcription of a typical conversation on the Live with Regis and Kathie Lee show, Regis' first phrase is continued by Kathie Lee in dovetail fashion, with Kathie Lee supplying the seventh of the minor sonority outlined by Regis. In other words, her entering pitch was harmonically related to R ...
Aaron Copland`s Piano Variations: A Study in Character
... statement of the motive, a short note-value followed by a longer and then two shorter ones, foreshadows the development of this rhythmic relationship. The overall structure of the Variations shows a mastery of organization. Not only does Copland link each variation with the previous one in some way, ...
... statement of the motive, a short note-value followed by a longer and then two shorter ones, foreshadows the development of this rhythmic relationship. The overall structure of the Variations shows a mastery of organization. Not only does Copland link each variation with the previous one in some way, ...
Program - Michael Harrison, composer and pianist
... In 1980, I was exploring different just intonation tunings where I had tuned D and D#, and A and A# to slightly different versions of the same note (i.e., a syntonic comma, also called the diaschisma, or 81:80 ratio, apart). In one of my practice sessions I found that if these adjacent notes were pl ...
... In 1980, I was exploring different just intonation tunings where I had tuned D and D#, and A and A# to slightly different versions of the same note (i.e., a syntonic comma, also called the diaschisma, or 81:80 ratio, apart). In one of my practice sessions I found that if these adjacent notes were pl ...
Lesson SSS - Diatonic Sequences
... As Example 7 shows, this excerpt is based on the same interval progression already familiar from Examples 1 and 4: tenths becoming suspended sevenths. After the initial Gb is heard in m. 25 as the third of the now minor tonic, the upper voice leaps up to Cb in m. 26. That Cb is heard again in m. 27, ...
... As Example 7 shows, this excerpt is based on the same interval progression already familiar from Examples 1 and 4: tenths becoming suspended sevenths. After the initial Gb is heard in m. 25 as the third of the now minor tonic, the upper voice leaps up to Cb in m. 26. That Cb is heard again in m. 27, ...
Lesson_SSS_-_Diatoni..
... 10 – 7—until the pattern is broken in m. 9. Such patterns are sometimes referred to as linear intervallic patterns, or, LIPs for short. Each of the sequences discussed in this lesson can be similarly analyzed as LIPs. Descending-fifth sequences: Sequences in which the chord roots descend by fifth ar ...
... 10 – 7—until the pattern is broken in m. 9. Such patterns are sometimes referred to as linear intervallic patterns, or, LIPs for short. Each of the sequences discussed in this lesson can be similarly analyzed as LIPs. Descending-fifth sequences: Sequences in which the chord roots descend by fifth ar ...
MiLa - mhong.me
... along on the syllables [6]. These tonal patterns are ones encountered in the sight-singing work that follows. The vertical position of the instructor’s hands varies according to the height of each tone; this is crucial for patterns that include dos at different octaves. ...
... along on the syllables [6]. These tonal patterns are ones encountered in the sight-singing work that follows. The vertical position of the instructor’s hands varies according to the height of each tone; this is crucial for patterns that include dos at different octaves. ...
Barry - beaufortcollege.ie
... A/B1/C1/C2/B2/C3/D1/D2+B3/E1/C4/C5/E2+D3/C6/C7/F+C8/C9/G/H. (It could be regarded as an unusual rondo form.) From the above we can see that there are eight different kinds of music, four of which (A/F/G/H) appear once only. It is structurally satisfying to note that the piece begins and ends with mu ...
... A/B1/C1/C2/B2/C3/D1/D2+B3/E1/C4/C5/E2+D3/C6/C7/F+C8/C9/G/H. (It could be regarded as an unusual rondo form.) From the above we can see that there are eight different kinds of music, four of which (A/F/G/H) appear once only. It is structurally satisfying to note that the piece begins and ends with mu ...
Boland _1
... In all these examples, the formal shape is that of an arch, defined each time by different parameters. The cumulation-reduction process as arch form is most directly represented in the visual clarity of the score for the first movement of the Clarinet Suite 1. The clarinet melody is constructed from ...
... In all these examples, the formal shape is that of an arch, defined each time by different parameters. The cumulation-reduction process as arch form is most directly represented in the visual clarity of the score for the first movement of the Clarinet Suite 1. The clarinet melody is constructed from ...
piece on a postcard
... On the tutor video the composer teaches all of the grooves to the players first, enabling everyone to enjoy and get a ‘feel’ for each. He teaches them by ear, repeating each pattern until it feels comfortable. He then allocates the parts appropriately to individuals before conducting a ‘performance. ...
... On the tutor video the composer teaches all of the grooves to the players first, enabling everyone to enjoy and get a ‘feel’ for each. He teaches them by ear, repeating each pattern until it feels comfortable. He then allocates the parts appropriately to individuals before conducting a ‘performance. ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.