01_front - Massey Research Online
... topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over two hundred notated musical examples used to demonstrate the materials in their context. This thesis also seeks to explain the relationships between these elements and presents the material in a fonn a ...
... topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over two hundred notated musical examples used to demonstrate the materials in their context. This thesis also seeks to explain the relationships between these elements and presents the material in a fonn a ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
What a Musical Work Is
... - But the instrumentation of particular works is an integral part of those works. (1) Composers specify a means of production, through which a pure sound pattern is indirectly indicated: “When Beethoven writes a middle C for the oboe, he has done more than require an oboe-like sound at a certain pit ...
... - But the instrumentation of particular works is an integral part of those works. (1) Composers specify a means of production, through which a pure sound pattern is indirectly indicated: “When Beethoven writes a middle C for the oboe, he has done more than require an oboe-like sound at a certain pit ...
CADENCES AND PHRASES
... pause. There are four basic types of cadences and each is defined by its specific use of harmony. The music between cadences is called a phrase. Cadences separate phrases and act very much like grammatical periods while musical phrases are like grammatical sentences. These devices are important in m ...
... pause. There are four basic types of cadences and each is defined by its specific use of harmony. The music between cadences is called a phrase. Cadences separate phrases and act very much like grammatical periods while musical phrases are like grammatical sentences. These devices are important in m ...
Pythagoras to Secor - Joint Mathematics Meetings
... arises as a consequence of the unique factorization property of integers, applied to the pitches of musical notes. In this talk, we briefly review historically significant temperaments such as Pythagorean tuning and 12-tone equal temperament. We then introduce George Secor’s ”miracle temperament.” D ...
... arises as a consequence of the unique factorization property of integers, applied to the pitches of musical notes. In this talk, we briefly review historically significant temperaments such as Pythagorean tuning and 12-tone equal temperament. We then introduce George Secor’s ”miracle temperament.” D ...
Supporting Materials - Melody, Rhythm, Accompaniment
... Or££, Carl, and Gunild Keetman. Orff-Schulwerk: Music for Children. English version adapted by Margaret Murray. 5 vols. London: Schott and Co. Ltd., 1958-1966. ___ . Orff-Schulwerk: Paralipomena. Mainz: B. Schott's Sohne, 1977. ...
... Or££, Carl, and Gunild Keetman. Orff-Schulwerk: Music for Children. English version adapted by Margaret Murray. 5 vols. London: Schott and Co. Ltd., 1958-1966. ___ . Orff-Schulwerk: Paralipomena. Mainz: B. Schott's Sohne, 1977. ...
Funki - QuT – Exploring ChromatiCism through Composition
... dissonant and has a harmonic richness that is very modern sounding. Introduction to Chromatic Elements According to Dyson and Drabkin (2006) that “In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the ...
... dissonant and has a harmonic richness that is very modern sounding. Introduction to Chromatic Elements According to Dyson and Drabkin (2006) that “In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the ...
Sample Tests Answer Key
... d. The articulation marking under the last two right hand chords is called tenuto. e. ...
... d. The articulation marking under the last two right hand chords is called tenuto. e. ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... same way (#4 goes to 5, etc.). K&P use the same notation as in CH23, but some theorists write things such as Gro3. 2. Resolutions to other scale degrees. The normal +6 chords are “of V”. Others are possible, such as Gr+6/5/I. (a) write a ½ step below the chord’s root, (b) write a ½ step above the ch ...
... same way (#4 goes to 5, etc.). K&P use the same notation as in CH23, but some theorists write things such as Gro3. 2. Resolutions to other scale degrees. The normal +6 chords are “of V”. Others are possible, such as Gr+6/5/I. (a) write a ½ step below the chord’s root, (b) write a ½ step above the ch ...
MU2201 : Analysing Western Art Music
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
microtonal scale exploration in Central
... approach by a flexible interface for both detection and representation of the tone scales. This means that no predispositions towards a certain music theory or pitch organization are made. Our goal is to document the endangered musical heritage of African oral cultures, specifically its tone scale d ...
... approach by a flexible interface for both detection and representation of the tone scales. This means that no predispositions towards a certain music theory or pitch organization are made. Our goal is to document the endangered musical heritage of African oral cultures, specifically its tone scale d ...
"Tonal Organization in Schoenberg`s Six Little Piano Pieces, Op. 19"
... Piano Pieces, Op. 19. In 1911, when they were written, Schoenberg had been composing in his new atonal style for some time, having already completed the monodrama Erwartung (1909), and being just over a year away from the completion of Pierrot Lunaire (1912). Thus, lying as they do between these two ...
... Piano Pieces, Op. 19. In 1911, when they were written, Schoenberg had been composing in his new atonal style for some time, having already completed the monodrama Erwartung (1909), and being just over a year away from the completion of Pierrot Lunaire (1912). Thus, lying as they do between these two ...
the Curriculum Map
... characteristics that cause each exemplary (that is, high- who have functioned in each quality and characteristic) role, and describe their work to be considered musical works activities and achievements exemplary c. compare, in several cultures of the world, functions music serves, roles of musician ...
... characteristics that cause each exemplary (that is, high- who have functioned in each quality and characteristic) role, and describe their work to be considered musical works activities and achievements exemplary c. compare, in several cultures of the world, functions music serves, roles of musician ...
Unity and Form in Miles Davis’ “Blue In Green”
... ultimately establish “Blue In Green” as somehow belonging to the category of “Theme and Variations” but rather to provide a useful analytical paradigm through which to understand the compositional and improvisatory elements of the piece. An analysis of this sort cannot help addressing some of the te ...
... ultimately establish “Blue In Green” as somehow belonging to the category of “Theme and Variations” but rather to provide a useful analytical paradigm through which to understand the compositional and improvisatory elements of the piece. An analysis of this sort cannot help addressing some of the te ...
Melody - StudyDaddy
... A melody is a succession of single pitches that we hear as a recognizable whole. We relate to thepitches of a mel ody in the same way we hear the words of a sentence— not singly but as an entirecohesive thought. We know a good melody when we hear one, and we recognize its powe r to move us,as do mo ...
... A melody is a succession of single pitches that we hear as a recognizable whole. We relate to thepitches of a mel ody in the same way we hear the words of a sentence— not singly but as an entirecohesive thought. We know a good melody when we hear one, and we recognize its powe r to move us,as do mo ...
Analysis of ``Kol Nidrei
... later chord progressions of this melody, an E does appear in the piano part, forcing these later chords to be E°. The next time this main melody appears is from measures 13-16, directly after the previous instance of this melody. This time, the viola part is shifted directly by one octave, though th ...
... later chord progressions of this melody, an E does appear in the piano part, forcing these later chords to be E°. The next time this main melody appears is from measures 13-16, directly after the previous instance of this melody. This time, the viola part is shifted directly by one octave, though th ...
1. Title: Pitch Synchrony in Live with Regis and
... When people speak, they choose not only the syntax, but also the rhythm, articulation, dynamic and pitch of each utterance. In this manner, all speakers instantaneously compose melodies with their voices. But why do we use the pitches that we use? Is there a reason we choose them, or are they arbitr ...
... When people speak, they choose not only the syntax, but also the rhythm, articulation, dynamic and pitch of each utterance. In this manner, all speakers instantaneously compose melodies with their voices. But why do we use the pitches that we use? Is there a reason we choose them, or are they arbitr ...
P5a - Piano Grade 5
... There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply tha ...
... There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply tha ...
extraction of the melody pitch contour from polyphonic - Music
... systems, significant differences can be observed. The execution times vary from 0.05 times real time (faster than real time) to about 65 times real time – more than three orders of magnitude. Our algorithm needed only 32 seconds while the second best algorithm needed 10970 seconds. We have already p ...
... systems, significant differences can be observed. The execution times vary from 0.05 times real time (faster than real time) to about 65 times real time – more than three orders of magnitude. Our algorithm needed only 32 seconds while the second best algorithm needed 10970 seconds. We have already p ...
version pdf
... basic sense of mobility, so that they feel more at ease with their voices both for singing and also quite simply for personal expression. The course consists of twenty classes (ten each semester), which are the result of personal reflection and teaching experiences in widely differing circumstances ...
... basic sense of mobility, so that they feel more at ease with their voices both for singing and also quite simply for personal expression. The course consists of twenty classes (ten each semester), which are the result of personal reflection and teaching experiences in widely differing circumstances ...
The Functional Tonal Musical System and its Mathematical
... configuration of the tonal schematic of the sound.2 “The term (author’s note harmonic relationships) implies not only the fact that a chord is followed by another but also that the succession is controlled and orderly”.3 Starting from the musical sense of each function, the tonal harmony will decide ...
... configuration of the tonal schematic of the sound.2 “The term (author’s note harmonic relationships) implies not only the fact that a chord is followed by another but also that the succession is controlled and orderly”.3 Starting from the musical sense of each function, the tonal harmony will decide ...
PowerPoint Lecture Slides
... There are a number of different minor scales - listen to Online Musical Illustration #6 for an illustration of a major scale, a harmonic minor scale, and a melodic minor scale. An interval is a name for the distance between two notes of a scale - instead of a whole step between the second and third ...
... There are a number of different minor scales - listen to Online Musical Illustration #6 for an illustration of a major scale, a harmonic minor scale, and a melodic minor scale. An interval is a name for the distance between two notes of a scale - instead of a whole step between the second and third ...
324KB - NZQA
... top of this page. You should attempt ALL the questions in this booklet. Pull out Resource Booklet 91094R from the centre of this booklet. If you need more room for any answer, use the extra space provided at the back of this booklet. Check that this booklet has pages 2 –11 in the correct order and t ...
... top of this page. You should attempt ALL the questions in this booklet. Pull out Resource Booklet 91094R from the centre of this booklet. If you need more room for any answer, use the extra space provided at the back of this booklet. Check that this booklet has pages 2 –11 in the correct order and t ...
Mantroch – A Future Orchestral Voice For Pipers
... systematically reduce the theme to its essential harmonic structure and embellish this with increasingly complex groupings of gracenotes. Traditionally, pibroch themes have a limited number of structures using phrases of different lengths; an approach currently being expanded. Of significant concern ...
... systematically reduce the theme to its essential harmonic structure and embellish this with increasingly complex groupings of gracenotes. Traditionally, pibroch themes have a limited number of structures using phrases of different lengths; an approach currently being expanded. Of significant concern ...
Answer Key
... Answer Key Listed below are the standard answers for each question – however, there may be other valid answers that apply (and, indeed, many of you will find that you received marks for answers not found below). SECTION I - LISTENING QUESTIONS 1) Listening Example 1 (10 marks) Josquin; Ave Maria; c. ...
... Answer Key Listed below are the standard answers for each question – however, there may be other valid answers that apply (and, indeed, many of you will find that you received marks for answers not found below). SECTION I - LISTENING QUESTIONS 1) Listening Example 1 (10 marks) Josquin; Ave Maria; c. ...