Timbre, Harmony, Orchestration, and Analysis, and Rautavaara`s
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
MATHEMUSIC – Numbers and Notes A Mathematical Approach To
... Mathematics and Music, the most sharply contrasted fields of scientific activity which can be found, and yet related, supporting each other, as if to show forth the secret connection which ties together all the activities of our mind [8]. Music theorists sometimes use mathematics to understand music ...
... Mathematics and Music, the most sharply contrasted fields of scientific activity which can be found, and yet related, supporting each other, as if to show forth the secret connection which ties together all the activities of our mind [8]. Music theorists sometimes use mathematics to understand music ...
File
... 6c - identify and classify orchestral, folk, and world instruments by sight and sound 6d - identify simple meters (beat groupings) 6e - distinguish aurally between music in major and minor keys 6f - compare and contrast chord sequence and tonal structure (major, minor, I, V) 6g - distinguish between ...
... 6c - identify and classify orchestral, folk, and world instruments by sight and sound 6d - identify simple meters (beat groupings) 6e - distinguish aurally between music in major and minor keys 6f - compare and contrast chord sequence and tonal structure (major, minor, I, V) 6g - distinguish between ...
Voc Music Baseline
... C. vocal cord 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. A. Range B. natural C. Scale 4. Intervals that are sung simultaneously are called______ A. Harmonic Interval B. Diminished interval C. ch ...
... C. vocal cord 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. A. Range B. natural C. Scale 4. Intervals that are sung simultaneously are called______ A. Harmonic Interval B. Diminished interval C. ch ...
How to Represent Texture of a Musical
... Determine the types of instruments and voices used in the recording. Catalog every instrument and voice used during the recording. Write a description of the timbre of each instrument and voice used during the recording. ...
... Determine the types of instruments and voices used in the recording. Catalog every instrument and voice used during the recording. Write a description of the timbre of each instrument and voice used during the recording. ...
Musical dramaturgy in Jeux d`eau by Maurice Ravel
... accompaniment (by crossing the hands, the left transforms into the upper leading voice – see b2 and b3). There are also cases – particularly in the last phrases - in which the melodic line goes below the accompanying register (see b1v), overlaps with it (see bv1 and bv2), or passes to the middle voi ...
... accompaniment (by crossing the hands, the left transforms into the upper leading voice – see b2 and b3). There are also cases – particularly in the last phrases - in which the melodic line goes below the accompanying register (see b1v), overlaps with it (see bv1 and bv2), or passes to the middle voi ...
Thomas A - Music at Thomas Edison
... Timbre is the result of what sound waves are actually present in the sound. Usually timbre is determined by instrumentation. Each instrument has its own tone color, and composers use and blend those colors much as a painter uses various paints. Orchestration – _______________________________________ ...
... Timbre is the result of what sound waves are actually present in the sound. Usually timbre is determined by instrumentation. Each instrument has its own tone color, and composers use and blend those colors much as a painter uses various paints. Orchestration – _______________________________________ ...
NCEA Level 3 Making Music (90777) 2012 Assessment
... A (tonic pedal) note is sustained / held through the whole introduction Percussion (tambourine) plays on the crotchet beats A one-bar riff / ostinato / rhythmic motif begins in the bass in bar 3 (heard four times) The last part of the bass riff is a diminution of the opening motif Other re ...
... A (tonic pedal) note is sustained / held through the whole introduction Percussion (tambourine) plays on the crotchet beats A one-bar riff / ostinato / rhythmic motif begins in the bass in bar 3 (heard four times) The last part of the bass riff is a diminution of the opening motif Other re ...
Schedule
... • A (tonic pedal) note is sustained / held through the whole introduction • Percussion (tambourine) plays on the crotchet beats • A one-bar riff / ostinato / rhythmic motif begins in the bass in bar 3 (heard four times) • The last part of the bass riff is a diminution of the opening motif • Other re ...
... • A (tonic pedal) note is sustained / held through the whole introduction • Percussion (tambourine) plays on the crotchet beats • A one-bar riff / ostinato / rhythmic motif begins in the bass in bar 3 (heard four times) • The last part of the bass riff is a diminution of the opening motif • Other re ...
Musical Dynamics
... Musical Dynamics • Dynamics are indicators of the relative intensity or volume of a musical line. ...
... Musical Dynamics • Dynamics are indicators of the relative intensity or volume of a musical line. ...
1 - State Examination Commission
... Quality of bass line, including continuing in style of given opening, and also including up to 2 marks for note placement throughout. 1 mark for each chord that fits melodic line and is part of a good musical progression. Up to 4 marks for awareness of cadences. Bass notes need not be indicated. ...
... Quality of bass line, including continuing in style of given opening, and also including up to 2 marks for note placement throughout. 1 mark for each chord that fits melodic line and is part of a good musical progression. Up to 4 marks for awareness of cadences. Bass notes need not be indicated. ...
a PDF version of this work.
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
Chapter 7 – Notes CHORDS A chord is a group of three or more
... Chords in 1st inversion are 6 or 6 and 3. Chords in 2nd inversion are 6 and 4. Used in the Baroque Era in much the same way as lead sheets are today. Keyboard players studied the bass line and figures and from that knew what intervals to play in the upper part. Figures were as simple as possible so ...
... Chords in 1st inversion are 6 or 6 and 3. Chords in 2nd inversion are 6 and 4. Used in the Baroque Era in much the same way as lead sheets are today. Keyboard players studied the bass line and figures and from that knew what intervals to play in the upper part. Figures were as simple as possible so ...
Elements of Music
... section consists of a development of the themes from the first section, and when the third section repeats the first with certain relationships of key, a sonata allegro form results. Preliminary Perceptual Experiences ...
... section consists of a development of the themes from the first section, and when the third section repeats the first with certain relationships of key, a sonata allegro form results. Preliminary Perceptual Experiences ...
PDF text - Music Theory Online
... operatic and large-scale choral works, genres not normally associated with analysis, more than compensate for the omissions noted above. As usual, the editors at Cambridge University Press have turned out a superb text, commendable for its paucity of errors and abundance of musical examples, but the ...
... operatic and large-scale choral works, genres not normally associated with analysis, more than compensate for the omissions noted above. As usual, the editors at Cambridge University Press have turned out a superb text, commendable for its paucity of errors and abundance of musical examples, but the ...
Pitch - AceHSC
... - Similar motion – melodic contour of two melodies imitate either ascending or descending together - Contrary motion – melodies move in opposite directions. One descends the other ascends Types of texture - Monophonic texture – single layer - Homophonic texture – melody with chordal accompaniment - ...
... - Similar motion – melodic contour of two melodies imitate either ascending or descending together - Contrary motion – melodies move in opposite directions. One descends the other ascends Types of texture - Monophonic texture – single layer - Homophonic texture – melody with chordal accompaniment - ...
REVERIE by Debussy!
... the major and minor scale system, Impressionist music tends to make more use of dissonance and more uncommon scales such as the whole tone scale. Romantic composers also used long forms of music such as the symphony and concerto, while Impressionist composers favored short forms such as the nocturne ...
... the major and minor scale system, Impressionist music tends to make more use of dissonance and more uncommon scales such as the whole tone scale. Romantic composers also used long forms of music such as the symphony and concerto, while Impressionist composers favored short forms such as the nocturne ...
Concerts can be found at www.MIStreamnet.org/cmsd or www
... piece returns to D, then G and ends by recapping the previous melodic material in the original key and ending with a short coda. o Rhythm: The rhythms in Eine Kleine Nachtmusik are very strai ...
... piece returns to D, then G and ends by recapping the previous melodic material in the original key and ending with a short coda. o Rhythm: The rhythms in Eine Kleine Nachtmusik are very strai ...
NJCCS Elements of Music
... sequence. This is an impelling device of varied repetition that gives a melody a strong sense of direction. Frequently, a melody will serve as the starting point for a more extended piece of music and, in stretching out, will go through all kinds of changes. This kind of melody is called a theme. Wh ...
... sequence. This is an impelling device of varied repetition that gives a melody a strong sense of direction. Frequently, a melody will serve as the starting point for a more extended piece of music and, in stretching out, will go through all kinds of changes. This kind of melody is called a theme. Wh ...
Understanding 12-bar Blues The most common musical form of
... The most common musical form of blues is the 12-bar blues. The term "12-bar" refers to the number of measures, or musical bars, used to express the theme of a typical blues song. Nearly all blues music is played to a 4/4 time signature, which means that there are four beats in every measure or bar a ...
... The most common musical form of blues is the 12-bar blues. The term "12-bar" refers to the number of measures, or musical bars, used to express the theme of a typical blues song. Nearly all blues music is played to a 4/4 time signature, which means that there are four beats in every measure or bar a ...
Musical expectancy
... Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
... Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
Musical Elements
... Rest -- The space between notes; also with short or long durations. Meter -- The grouping of pulses (beats) into small units, usually groups of 2, 3, 4, or 6 beats. A hierarchy of beats develops out of this, so that meters become groups of strong and weak beats. Meters allow for more complex rhythmi ...
... Rest -- The space between notes; also with short or long durations. Meter -- The grouping of pulses (beats) into small units, usually groups of 2, 3, 4, or 6 beats. A hierarchy of beats develops out of this, so that meters become groups of strong and weak beats. Meters allow for more complex rhythmi ...
lhs music theory homework 5b.389-446
... d. Move INTO the doubled tones in contrary, oblique, or (rarely) similar motion to the nearest chord tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which will complete the triad or which provides correct ...
... d. Move INTO the doubled tones in contrary, oblique, or (rarely) similar motion to the nearest chord tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which will complete the triad or which provides correct ...
PowerPoint Presentation - The Effects of the Una Corda Pedal on
... the same octave (C3, D3, E3, F3, G3). Ten trials of each note were taken, with and without the pedal. Data was taken during the initial 0.5s and at a later 0.5s interval, selected by locating a qualitative change in the waveform of each note. A computer software program, Audacity, was used to record ...
... the same octave (C3, D3, E3, F3, G3). Ten trials of each note were taken, with and without the pedal. Data was taken during the initial 0.5s and at a later 0.5s interval, selected by locating a qualitative change in the waveform of each note. A computer software program, Audacity, was used to record ...
Harmonic Progression - LearnMusicTheory.net
... Composers often led into the V-I progression with a series of downward fifth (or upward fourth) root motions. This pattern is called a circle-offifths sequence (see 2.2 The Circle of Fifths). A sequence is a progression based on a repeating pattern, such as downward fifths. ...
... Composers often led into the V-I progression with a series of downward fifth (or upward fourth) root motions. This pattern is called a circle-offifths sequence (see 2.2 The Circle of Fifths). A sequence is a progression based on a repeating pattern, such as downward fifths. ...