Linear Chromatic Flyer - James Jones Instruments
... the complex music of their regions and traditions. A modern chromatic layout with potential is Sam Rizzetta's Piano Dulcimer. The Piano Dulcimer is a straightforward and logical chromatic tuning layout with piano-like note markings and horizontal 1/2 step tunings that may appeal particularly to key ...
... the complex music of their regions and traditions. A modern chromatic layout with potential is Sam Rizzetta's Piano Dulcimer. The Piano Dulcimer is a straightforward and logical chromatic tuning layout with piano-like note markings and horizontal 1/2 step tunings that may appeal particularly to key ...
MTO 15.3: Johnson, Notational Systems and
... hand for a keyboardist makes sense of the Braille chorale in a way that is similar to a guitarist playing from tab or frames. In some ways it also resembles figured bass, which reflects keyboard style hand placement with one bass note played in the left hand and three others notes played in the righ ...
... hand for a keyboardist makes sense of the Braille chorale in a way that is similar to a guitarist playing from tab or frames. In some ways it also resembles figured bass, which reflects keyboard style hand placement with one bass note played in the left hand and three others notes played in the righ ...
This Worldes Joie Part 1 analysis
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
Frequency
... Intervals can be added together in order to form other intervals. For example a Perfect 5th and a Perfect 4th placed back to back form an octave (C to F+F to C = C to C). Interestingly the same result is obtained by multiplying the ratios of the intervals being added.. In this example 4/3 x 3/2 = 12 ...
... Intervals can be added together in order to form other intervals. For example a Perfect 5th and a Perfect 4th placed back to back form an octave (C to F+F to C = C to C). Interestingly the same result is obtained by multiplying the ratios of the intervals being added.. In this example 4/3 x 3/2 = 12 ...
Estimating Resemblance of MIDI Documents
... 1.2 Review: Hashing techniques for text similarity We review previously known techniques based on hashing for determining when text documents are syntactically similar. Here we follow the work of Broder [6], although there are other similar treatments [9, 10]. Each document may be considered as a se ...
... 1.2 Review: Hashing techniques for text similarity We review previously known techniques based on hashing for determining when text documents are syntactically similar. Here we follow the work of Broder [6], although there are other similar treatments [9, 10]. Each document may be considered as a se ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... which a player outlines or implies the harmony of a chord. Jazz bass technique also extends to more melodic content and solos played with the bow. Jimmy Blanton was a jazz bass virtuoso in the late 1930s and early 1940s. Through his innovative approach to melody and rhythm, Blanton departed from the ...
... which a player outlines or implies the harmony of a chord. Jazz bass technique also extends to more melodic content and solos played with the bow. Jimmy Blanton was a jazz bass virtuoso in the late 1930s and early 1940s. Through his innovative approach to melody and rhythm, Blanton departed from the ...
How Music Works
... only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefore has the ration 4:3. This tuning system, which works very well for medieval mus ...
... only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefore has the ration 4:3. This tuning system, which works very well for medieval mus ...
Expression and Discrétion: Froberger, Bach, and Performance
... Nevertheless Froberger, like his teacher Frescobaldi, always notated his music in the traditional manner, as if it was to be played with a steady beat. In his laments, as in his toccatas, Froberger notates what appear to be very complex, constantly changing rhythms. Despite the complicated notation, ...
... Nevertheless Froberger, like his teacher Frescobaldi, always notated his music in the traditional manner, as if it was to be played with a steady beat. In his laments, as in his toccatas, Froberger notates what appear to be very complex, constantly changing rhythms. Despite the complicated notation, ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... prolongation of V7 by VII sharp-5); reaching over; arpeggiation; equal division of the octave; inversions of V7; and enharmonic parentheses (“EP”), which normally exploit enharmonic equivalence with the German augmented-sixth chord (a topic more fully explored in chapter 10). The subject of large-sc ...
... prolongation of V7 by VII sharp-5); reaching over; arpeggiation; equal division of the octave; inversions of V7; and enharmonic parentheses (“EP”), which normally exploit enharmonic equivalence with the German augmented-sixth chord (a topic more fully explored in chapter 10). The subject of large-sc ...
Troubles with Tonal Terminology
... and‐fro between two chords); ‘loop’ = lazo, vuelta (short, repeated ‘circle’ of usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch sna ...
... and‐fro between two chords); ‘loop’ = lazo, vuelta (short, repeated ‘circle’ of usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch sna ...
Tonal Function in Harmonic Scales
... Melodic intervals similar in size to the major third and the minor sixth approximate simple frequency ratios (4:5×2(n-1) and 5:2(n+2), respectively), but they are also only a semitone from the prototypical p4 and p5 ratios. For this reason, these intervals are inherently ambiguous because they can b ...
... Melodic intervals similar in size to the major third and the minor sixth approximate simple frequency ratios (4:5×2(n-1) and 5:2(n+2), respectively), but they are also only a semitone from the prototypical p4 and p5 ratios. For this reason, these intervals are inherently ambiguous because they can b ...
Analysis And Impact Of Selected Compositions That
... the basso voice. The F3 in the basso creates a very dissonant major seventh with the canto’s E5. As mentioned earlier the major seventh (a transposed minor second) is an interval that is considered dissonant even to today’s general listener so it being performed in this piece would have been uncomfo ...
... the basso voice. The F3 in the basso creates a very dissonant major seventh with the canto’s E5. As mentioned earlier the major seventh (a transposed minor second) is an interval that is considered dissonant even to today’s general listener so it being performed in this piece would have been uncomfo ...
Signal Processing for Melody Transcription
... A musical scale is a logarithmic organisation of pitch based on the octave, which is the perceived distance between two pitches when one is twice the frequency of the other. For example, middle C (C4) has frequency 261.6 Hz; the octave above (C5) is 523.2 Hz and above that is soprano high C (C6) at ...
... A musical scale is a logarithmic organisation of pitch based on the octave, which is the perceived distance between two pitches when one is twice the frequency of the other. For example, middle C (C4) has frequency 261.6 Hz; the octave above (C5) is 523.2 Hz and above that is soprano high C (C6) at ...
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 ...
The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing
... for the left one (right: keys e/b', f/c', f#/c#' and g#/d#' of the traditional clarinet; left: e/b', f/c' and f#/c#'). The rest of the tritave is produced by six open finger holes, a thumb hole and a key above the first finger hole, operated by the left index finger, equal to the traditional throat ...
... for the left one (right: keys e/b', f/c', f#/c#' and g#/d#' of the traditional clarinet; left: e/b', f/c' and f#/c#'). The rest of the tritave is produced by six open finger holes, a thumb hole and a key above the first finger hole, operated by the left index finger, equal to the traditional throat ...
Harmonic Techniques in Maurice Ravel`s Opera L
... belonging to the harmony set forth by the woodwinds: B♭ and D. The disparity in volume between the pizzicato strings and the blasting woodwinds result in the B♭ and D of the strings carrying relatively little impact in defining the harmony, merely adding color to the Fmaj7♯5 chord. These two notes, ...
... belonging to the harmony set forth by the woodwinds: B♭ and D. The disparity in volume between the pizzicato strings and the blasting woodwinds result in the B♭ and D of the strings carrying relatively little impact in defining the harmony, merely adding color to the Fmaj7♯5 chord. These two notes, ...
Interactive Unit Planner - Arts Online
... The slendro is approximately represented by the notes C D E G A The pelog is approximately represented by the notes C Db Eb F G Ab Bb Gamelan does not use chordal or harmonic accompaniment for the melodies as each part usually plays a version of the main melody, often at a different speed. Penta ...
... The slendro is approximately represented by the notes C D E G A The pelog is approximately represented by the notes C Db Eb F G Ab Bb Gamelan does not use chordal or harmonic accompaniment for the melodies as each part usually plays a version of the main melody, often at a different speed. Penta ...
Giorgio Sanguinetti, The Art of Partimento
... out to teach the reader how to understand the musical canovaccio of a partimento, to be used at the appropriate points. First he describes the different stages from the starting point, following the three-stage approach suggested by Fenaroli and Guarnaccia: beginning with a simple chordal realizatio ...
... out to teach the reader how to understand the musical canovaccio of a partimento, to be used at the appropriate points. First he describes the different stages from the starting point, following the three-stage approach suggested by Fenaroli and Guarnaccia: beginning with a simple chordal realizatio ...
Level 4 Workbook
... Write the primary triads for each key. The key signature is given. Hint: In a minor key, primary triads are based on the harmonic minor scale – remember to raise the 7th scale degree (the leading tone). ...
... Write the primary triads for each key. The key signature is given. Hint: In a minor key, primary triads are based on the harmonic minor scale – remember to raise the 7th scale degree (the leading tone). ...
652KB - Drum Corps United Kingdom
... 3. Sound Quality - control and consistency of characteristic timbres within the palette of musical colors created as well as uniformity of sonority and blend within the melodic and harmonic textures presented throughout the ranges, dynamic levels and dynamic changes involved. This includes accuracy ...
... 3. Sound Quality - control and consistency of characteristic timbres within the palette of musical colors created as well as uniformity of sonority and blend within the melodic and harmonic textures presented throughout the ranges, dynamic levels and dynamic changes involved. This includes accuracy ...
A Comparative Analysis of Three Concerti
... second. “Oboe Concerto” does not have a designated cadenza, but there are three quasi-cadenza sections in the third movement. Additionally, the length of each movement is not consistent across the concerti. The first movement of “Flute Concerto” in particular demonstrates the lack of structural goal ...
... second. “Oboe Concerto” does not have a designated cadenza, but there are three quasi-cadenza sections in the third movement. Additionally, the length of each movement is not consistent across the concerti. The first movement of “Flute Concerto” in particular demonstrates the lack of structural goal ...
Beyer Clarinet Suites
... Cowell, might have been like. These two clarinet suites are perhaps Beyer’s earliest extant works, and strongly show the influence of Charles and Ruth Crawford Seeger in the exploration of dissonant counterpoint. Beyer’s use of “phrase structure” notation suggested by Seeger in the Treatise…, with d ...
... Cowell, might have been like. These two clarinet suites are perhaps Beyer’s earliest extant works, and strongly show the influence of Charles and Ruth Crawford Seeger in the exploration of dissonant counterpoint. Beyer’s use of “phrase structure” notation suggested by Seeger in the Treatise…, with d ...
Tempo Ligeti the Postmodernist?
... fleeting tonal centres.16 Another feature is the on firm tonal land because the harmonic lower voice, which outlines two chromatic background of the music is continually twisting and turning. clusters in a rather Webernesque manner. Passacaglia Ungherese is Baroque in its textural In Iigeti's next w ...
... fleeting tonal centres.16 Another feature is the on firm tonal land because the harmonic lower voice, which outlines two chromatic background of the music is continually twisting and turning. clusters in a rather Webernesque manner. Passacaglia Ungherese is Baroque in its textural In Iigeti's next w ...
Télécharger le pdf
... example, [0236] can be found between the second and fifth pitches of the melody. This tendency to blur a chord—that is, adding to any traditional triad a minor second next to one of its pitches—is apparent in many of Vivier’s works, especially early in his output.3 This diminished triad with a blurr ...
... example, [0236] can be found between the second and fifth pitches of the melody. This tendency to blur a chord—that is, adding to any traditional triad a minor second next to one of its pitches—is apparent in many of Vivier’s works, especially early in his output.3 This diminished triad with a blurr ...
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.