Playing with Sums: Reconsidering Additive Rhythm in Balkan Music
... needed to represent the ratio of short-to-long. In contrast with some of the previous definitions, we cannot use the mere equality or inequality of such durational quantities as the basis for determining whether or not a given rhythm is additive, since 2 and 2 can be added just as easily as 2 and 3. ...
... needed to represent the ratio of short-to-long. In contrast with some of the previous definitions, we cannot use the mere equality or inequality of such durational quantities as the basis for determining whether or not a given rhythm is additive, since 2 and 2 can be added just as easily as 2 and 3. ...
Mathematical Properties of the Octatonic “Diminished
... used diminished chords, I have failed to find the diminished scale in any of his works, which I find quite surprising since he includes most other advanced harmonies (such as flattened 6ths, major 7ths and unusual chromatic sequences). It also, of course, serves as a scale upon which to write melodi ...
... used diminished chords, I have failed to find the diminished scale in any of his works, which I find quite surprising since he includes most other advanced harmonies (such as flattened 6ths, major 7ths and unusual chromatic sequences). It also, of course, serves as a scale upon which to write melodi ...
Mirage: Avant-Garde and Third-Stream Jazz
... (where the clarinets originally started) except that a totally foreign pitch, a softly held D-flat, emerges quite unexpectedly from the chord; and one measure later, as if by some musical sleight of hand, we find ourselves in the key of D-flat major and in a traditional 32-bar song form, initiated b ...
... (where the clarinets originally started) except that a totally foreign pitch, a softly held D-flat, emerges quite unexpectedly from the chord; and one measure later, as if by some musical sleight of hand, we find ourselves in the key of D-flat major and in a traditional 32-bar song form, initiated b ...
LUDWIG VAN BEETHOVEN Sonata in C minor
... movement, marked Arietta: Adagio molto semplice ed cantabile. The menace of the first movement recedes into the background with the gentle announcement of the Arietta (“theme”). To be sure, this seemingly ...
... movement, marked Arietta: Adagio molto semplice ed cantabile. The menace of the first movement recedes into the background with the gentle announcement of the Arietta (“theme”). To be sure, this seemingly ...
Creative Practice as Research
... The Third Movement of Piano Concerto No. 1 explores the research questions of composing a classical minuet and trio for string quintet, then changing it to a jazz waltz and scherzo for jazz trio, then merging these two musical styles and ensembles to create a third stream interpretation of the movem ...
... The Third Movement of Piano Concerto No. 1 explores the research questions of composing a classical minuet and trio for string quintet, then changing it to a jazz waltz and scherzo for jazz trio, then merging these two musical styles and ensembles to create a third stream interpretation of the movem ...
Introduction Local Boundary Detection Model Study of Expressive Timing (LBDM)
... Punctuation Rule System. The hypothesis that the final note of a phrase is always lengthened is not always valid. The end of a melodic phrase is more often marked by the lengthening of the second-to-last note or delaying the last note. ...
... Punctuation Rule System. The hypothesis that the final note of a phrase is always lengthened is not always valid. The end of a melodic phrase is more often marked by the lengthening of the second-to-last note or delaying the last note. ...
2 – First Species Counterpoint
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
Sheet Music - Murray High School, Lavington
... same time by more than one instrument or voice, but with different variations of the same melody. • The texture is most common to cultures of the Middle east, China, Indonesia, Ireland and some parts of Africa • mainstream music • To identify heterophonic texture, listen for the same melody played b ...
... same time by more than one instrument or voice, but with different variations of the same melody. • The texture is most common to cultures of the Middle east, China, Indonesia, Ireland and some parts of Africa • mainstream music • To identify heterophonic texture, listen for the same melody played b ...
e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... In each exercise, carefully analyze the given material in terms of its harmonic and melodic content as well as all aspects of patterning, so that your work is logical and consistent in terms of the given. If the exercise involves harmonizing a melody, analyze (or perhaps discuss in class) the implie ...
... In each exercise, carefully analyze the given material in terms of its harmonic and melodic content as well as all aspects of patterning, so that your work is logical and consistent in terms of the given. If the exercise involves harmonizing a melody, analyze (or perhaps discuss in class) the implie ...
TAVENER The Lamb - davenantperformingarts
... of the pitches between the surrounding Gs In br7-10 the opening melody is presented 4 times in homophonic texture in which all 4 parts are heard for the 1st time Br 10 is an AUGMENTATION of br9 – and it gives this last repetition of the bar a sense of finality for the end of verse 1 ...
... of the pitches between the surrounding Gs In br7-10 the opening melody is presented 4 times in homophonic texture in which all 4 parts are heard for the 1st time Br 10 is an AUGMENTATION of br9 – and it gives this last repetition of the bar a sense of finality for the end of verse 1 ...
Music Metadata Influence - Rovi
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
5th Grade Vocal Music - Sutton Public Schools
... 1. Writing different rhythmic values 2. Repeating what was heard 3. Learning that sounds do not always occur on the beat 4. Music’s relationship to math ...
... 1. Writing different rhythmic values 2. Repeating what was heard 3. Learning that sounds do not always occur on the beat 4. Music’s relationship to math ...
Document
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
Document
... • Contain seven pitches • The eighth note of the scale (octave) repeats the starting pitch • Examples: major scales, minor scales, church modes ...
... • Contain seven pitches • The eighth note of the scale (octave) repeats the starting pitch • Examples: major scales, minor scales, church modes ...
Music Notation Symbols
... appoggiatura and acciaccatura have the same definition and how do you distinguish the two? You can see they look exactly the same. Knowing what the composer wanted can only help you. ...
... appoggiatura and acciaccatura have the same definition and how do you distinguish the two? You can see they look exactly the same. Knowing what the composer wanted can only help you. ...
“Eric Whitacre Sleep” Analysis
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
Sample Copy of Level 1
... A half step is the closest distance between two notes. A whole step is made up of two half steps put together. On violin or viola a half step is where our fingers touch whereas a whole steps is when our fingers are apart from each other. On cello a half step is when a note is one finger away and a w ...
... A half step is the closest distance between two notes. A whole step is made up of two half steps put together. On violin or viola a half step is where our fingers touch whereas a whole steps is when our fingers are apart from each other. On cello a half step is when a note is one finger away and a w ...
Harmonic Analysis 1: Homophonic Texture
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...
7609.01 A2 (Part 2) Written Paper (Summer 2012).indd
... the piece’s title, Répons, is derived from the fact that the composition is built from a number of responses. The contrast between acoustic sounds and electronic responses to them, and also the medieval idea of responsorial mirroring between players and speakers in different parts of the concert hal ...
... the piece’s title, Répons, is derived from the fact that the composition is built from a number of responses. The contrast between acoustic sounds and electronic responses to them, and also the medieval idea of responsorial mirroring between players and speakers in different parts of the concert hal ...
43 CHAPTER 8, ORNAMENTATION Ornamentation is, in its most
... of voice leading.42 Donington references Quantz, Leopold Mozart, Jean-Jacque Rousseau and F. Marpug in regard to proper performance of the coulé. Quantz, Mozart and Rousseau state that the “French” style of performing these notes is to derive their value from the note that precedes them, that is to ...
... of voice leading.42 Donington references Quantz, Leopold Mozart, Jean-Jacque Rousseau and F. Marpug in regard to proper performance of the coulé. Quantz, Mozart and Rousseau state that the “French” style of performing these notes is to derive their value from the note that precedes them, that is to ...
Set Theory - ClarkRoss.ca
... one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical analysis for scale degrees, chord inversions, added notes, and voice5 ...
... one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical analysis for scale degrees, chord inversions, added notes, and voice5 ...
The Great Highland Bagpipe Plays in WHAT Key?
... sounding together are heard as a consonance (a smooth, pleasant combination of notes.) • This occurs when the ratio of their frequencies is a fraction with small integers in the numerator and denominator. ...
... sounding together are heard as a consonance (a smooth, pleasant combination of notes.) • This occurs when the ratio of their frequencies is a fraction with small integers in the numerator and denominator. ...
Dictionary of Musical Terms
... measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of . The upper number indicates the beats in a measure; the lower number tells the music, e.g. what kind of a note will receive one ...
... measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of . The upper number indicates the beats in a measure; the lower number tells the music, e.g. what kind of a note will receive one ...
Music Jeopardy - Adventures of a Music Teacher
... Answer: harpsichord On Christmas Eve during WW!, a “Christmas Truce” occurred in which both German and American soldiers ceased fighting and joined together to sing this song. Answer: Silent Night This song was composed by George Frederic Handel as a part of his work, Messiah. This movement is often ...
... Answer: harpsichord On Christmas Eve during WW!, a “Christmas Truce” occurred in which both German and American soldiers ceased fighting and joined together to sing this song. Answer: Silent Night This song was composed by George Frederic Handel as a part of his work, Messiah. This movement is often ...
Jazz Improvisation for Classical Musicians
... therefore what notes work when played over that particular chord. As mentioned, where possible, think key not chord. Sometimes, with certain chord progressions, you will be “effectively” playing in a few keys in quick succession, even thought the tonic key is something different. The piece may there ...
... therefore what notes work when played over that particular chord. As mentioned, where possible, think key not chord. Sometimes, with certain chord progressions, you will be “effectively” playing in a few keys in quick succession, even thought the tonic key is something different. The piece may there ...
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.