Harmony
... Alter an existing composition from Major to minor and change basic concepts such as rhythms, tempo, style, dynamics and instrumentation ...
... Alter an existing composition from Major to minor and change basic concepts such as rhythms, tempo, style, dynamics and instrumentation ...
8th Grade Planned Course Guide - Penn
... 8. Identify the following voice parts: soprano, alto, tenor, baritone, and bass; as well as the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally ...
... 8. Identify the following voice parts: soprano, alto, tenor, baritone, and bass; as well as the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally ...
Microtones - Matt Swallow Saxophone
... a. In several compositions, there are multiphonic fingerings provided. In addition, there are some notations of a chord indicating how the chord should sound like. Some of these chords contain the ...
... a. In several compositions, there are multiphonic fingerings provided. In addition, there are some notations of a chord indicating how the chord should sound like. Some of these chords contain the ...
NOTE ONSET DETECTION USING ONE SEMITONE FILTER-BANK FOR MIREX 2009
... derivatives in time of the filtered values are considered to detect spectral variations related to note onsets. The motivation of the proposed approach is based on the characteristics of most harmonic tuned instruments. The first harmonics of a tuned sound are close to the frequencies of other pitch ...
... derivatives in time of the filtered values are considered to detect spectral variations related to note onsets. The motivation of the proposed approach is based on the characteristics of most harmonic tuned instruments. The first harmonics of a tuned sound are close to the frequencies of other pitch ...
Forgotten In Time -The Ancient Solfeggio Frequencies
... I shared the information about these frequencies with a musician friend who had a studio in her home. After reviewing the information, she decided that she would like to experiment with these frequencies in the form of meditation music. She was also in touch with Jonathan Goldman (author of the book ...
... I shared the information about these frequencies with a musician friend who had a studio in her home. After reviewing the information, she decided that she would like to experiment with these frequencies in the form of meditation music. She was also in touch with Jonathan Goldman (author of the book ...
The Motive - AState.edu
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
Kievan notation
... Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle line of the staff, which does not require any “key signature”. (Other regional varieties of Kievan chant sometimes move the position of “DO” around, requiring a couple key signatures, but this is n ...
... Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle line of the staff, which does not require any “key signature”. (Other regional varieties of Kievan chant sometimes move the position of “DO” around, requiring a couple key signatures, but this is n ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterpreted as a Ger+6 chord in the new key The reverse is also possible In the majority of cases, the co ...
... modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterpreted as a Ger+6 chord in the new key The reverse is also possible In the majority of cases, the co ...
isomorphic tessellations for musical keyboards
... develops horizontally, one note at a time. In music theory, there are two basic progressions that are used to characterize scales–the diatonic and the chromatic. The diatonic scale is a seven note octave-repeating musical scale comprising five whole steps and two half steps for each octave. The “whi ...
... develops horizontally, one note at a time. In music theory, there are two basic progressions that are used to characterize scales–the diatonic and the chromatic. The diatonic scale is a seven note octave-repeating musical scale comprising five whole steps and two half steps for each octave. The “whi ...
Inversion, Retrograde, Retrograde Inversion
... To get the retrograde, list the prime form backwards, starting with the last pitch class and reading right to left. To get the retrograde inversion, list the inversion form backwards, reading the notes from right to left. To combine inversion or transposition with retrograde, do each operation one a ...
... To get the retrograde, list the prime form backwards, starting with the last pitch class and reading right to left. To get the retrograde inversion, list the inversion form backwards, reading the notes from right to left. To combine inversion or transposition with retrograde, do each operation one a ...
Qualia as intervening variables in the understanding of music cognition
... our bearings. If all the intervals were equal (as in Debussy’s use of the “whole-tone” scale of 2-semitone steps around 1900), the result would be ambiguity concerning the location of the tonal center, the “home base.” Shepard goes on to cite the studies by Shepard and Jordan (1984) and Jordan and S ...
... our bearings. If all the intervals were equal (as in Debussy’s use of the “whole-tone” scale of 2-semitone steps around 1900), the result would be ambiguity concerning the location of the tonal center, the “home base.” Shepard goes on to cite the studies by Shepard and Jordan (1984) and Jordan and S ...
Listening To Music
... • Simplest kind of polyphony: round or canon • Ex: “Row, Row, Row, Your Boat” with different voices starting at different times. • More complex polyphony: different melodies interwoven, may or may not start together ...
... • Simplest kind of polyphony: round or canon • Ex: “Row, Row, Row, Your Boat” with different voices starting at different times. • More complex polyphony: different melodies interwoven, may or may not start together ...
The Composition of New Music Inspired by Music Philosophy and
... in reconstructing the music of ancient Greece than in composing new music. I studied ancient papyrus manuscripts and stone carvings of ancient Greek notation and looked at other musicologists’ work and made my own transcriptions of ancient Greek music. This is a form of art, but not composition in t ...
... in reconstructing the music of ancient Greece than in composing new music. I studied ancient papyrus manuscripts and stone carvings of ancient Greek notation and looked at other musicologists’ work and made my own transcriptions of ancient Greek music. This is a form of art, but not composition in t ...
class9#
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
Spectral analysis of different harmonies Implemented by Equal
... noticeable differences in the specific range, and the red-lettered frequencies exist only in the equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer re ...
... noticeable differences in the specific range, and the red-lettered frequencies exist only in the equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer re ...
Half Steps and Whole Steps
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
Name
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
AP Music Theory - Stratford Public Schools
... Demonstrate a knowledge of percussion notation in music being performed as well as standard rudiments. (percussionists only). Demonstrate correct fingerings within a practical range of their chosen instrument. Perform all major scales and three forms of minor scales. Perform chromatic scale and othe ...
... Demonstrate a knowledge of percussion notation in music being performed as well as standard rudiments. (percussionists only). Demonstrate correct fingerings within a practical range of their chosen instrument. Perform all major scales and three forms of minor scales. Perform chromatic scale and othe ...
PDF text - Music Theory Online
... [5] If this temperament is extended to a chain of 12 pitches, all related by meantone 5ths of 696.578 cents, some pitches near the ends of the chain will not be suitable as triadic roots, since the triad’s third or fifth, or both, will be noticeably mistuned. As an example, if the chain runs from E ...
... [5] If this temperament is extended to a chain of 12 pitches, all related by meantone 5ths of 696.578 cents, some pitches near the ends of the chain will not be suitable as triadic roots, since the triad’s third or fifth, or both, will be noticeably mistuned. As an example, if the chain runs from E ...
5th Grade - Mercer Island School District
... 1. Moving alphabetically up or down the staff, 3. Know where all the C’s are and move up and step from line to space to name the note. down stepwise from the closest one! ...
... 1. Moving alphabetically up or down the staff, 3. Know where all the C’s are and move up and step from line to space to name the note. down stepwise from the closest one! ...
Guidelines for the Analysis of Twentieth
... Guidelines for the Analysis of Twentieth-Century Music I. General considerations for analysis A. Become familiar with 20th-century styles, composers, and techniques, so that in individual pieces you will have an immediate sense of what kinds of musical processes may be at work. B. In any 20th-centur ...
... Guidelines for the Analysis of Twentieth-Century Music I. General considerations for analysis A. Become familiar with 20th-century styles, composers, and techniques, so that in individual pieces you will have an immediate sense of what kinds of musical processes may be at work. B. In any 20th-centur ...
Slide 1
... So, what is music and what is noise •Music is an organization of sounds with some degree of rhythm, melody, and harmony •Music is said to be an art and often defined by contrast with noise •Noise is a mixture of different frequencies •White noise – equal amounts of sound power from each spectrum of ...
... So, what is music and what is noise •Music is an organization of sounds with some degree of rhythm, melody, and harmony •Music is said to be an art and often defined by contrast with noise •Noise is a mixture of different frequencies •White noise – equal amounts of sound power from each spectrum of ...
SCALES and ORNAMENTS ~ Higher Level
... Chromatic O A stepwise series of notes built up entirely of ...
... Chromatic O A stepwise series of notes built up entirely of ...
Musical expectancy
... The Formation of Musical Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
... The Formation of Musical Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
Indonesia
... Compositions guided by a core melody. A skeletal melody (balungan in Java, and pokok in Bali) directs intricate parts of gamelan texture. For example, one tone of the five in the melody may be saved for an important point of change. Polyphonic texture. The balungan is only one of a rich fabric of me ...
... Compositions guided by a core melody. A skeletal melody (balungan in Java, and pokok in Bali) directs intricate parts of gamelan texture. For example, one tone of the five in the melody may be saved for an important point of change. Polyphonic texture. The balungan is only one of a rich fabric of me ...
Microtonal music
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, which are also called ""microintervals"". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave.