Brief background The tonal hierarchy The first probe tone study
... On the next higher level the third and fifth of the scale active melodic tones relative to the tonic, join the tonic as structural tones; and all the other tones, whether diatonic or chromatic, tend toward one of these. Going still further in the system: the full complement of diatonic tones ...
... On the next higher level the third and fifth of the scale active melodic tones relative to the tonic, join the tonic as structural tones; and all the other tones, whether diatonic or chromatic, tend toward one of these. Going still further in the system: the full complement of diatonic tones ...
Non-chord Tones
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
Lorenz Composer
... will greatly aid in the understanding of the composer. In the tempered scale of western music there are twelve pitches that constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music ...
... will greatly aid in the understanding of the composer. In the tempered scale of western music there are twelve pitches that constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music ...
Part 1 2016 AKFinal Assesment Winds
... 3. To become a great musician one must meet and maximize one’s musical potential. As a famous football coach once stated. “Talent is only worth something if someone else notices you have it”. Which statement will assist a young student in meeting their true potential of becoming a world-class m ...
... 3. To become a great musician one must meet and maximize one’s musical potential. As a famous football coach once stated. “Talent is only worth something if someone else notices you have it”. Which statement will assist a young student in meeting their true potential of becoming a world-class m ...
Part 1 The Materials of Music
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
Absolute pitch correlates with high performance on
... To quantify the extent to which each of these factors predicted overall performance on the interval naming tasks, a multiple regression was performed with AP possession, age of onset of musical training, and years of musical training as predictor variables. AP possession alone accounted for over 50 ...
... To quantify the extent to which each of these factors predicted overall performance on the interval naming tasks, a multiple regression was performed with AP possession, age of onset of musical training, and years of musical training as predictor variables. AP possession alone accounted for over 50 ...
Voice-Leading Guidelines:
... fourth which occurs with the bass is considered a dissonance in tonal music (functions as a suspension). Therefore, they are treated as specific types only. The key question is: What is the bass doing? Every 6-4 chord (and later on 4-3) has a pattern in the bass involving three notes: the note befor ...
... fourth which occurs with the bass is considered a dissonance in tonal music (functions as a suspension). Therefore, they are treated as specific types only. The key question is: What is the bass doing? Every 6-4 chord (and later on 4-3) has a pattern in the bass involving three notes: the note befor ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... Whole-step/half-step Model F G A B C Db Eb F half steps are between 4-5 and 5-6 Lydian Minor (F)-F G A B C D E F used in jazz (compare to Lydian): C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
... Whole-step/half-step Model F G A B C Db Eb F half steps are between 4-5 and 5-6 Lydian Minor (F)-F G A B C D E F used in jazz (compare to Lydian): C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
Minor Scales
... A scale is a series of notes dividing the octave, repeating each octave across the range of low to high pitches. According to the equal temperament tuning system, octaves are equally divided into twelve notes. A western scale is a series of notes selected among these twelve notes. Each of these note ...
... A scale is a series of notes dividing the octave, repeating each octave across the range of low to high pitches. According to the equal temperament tuning system, octaves are equally divided into twelve notes. A western scale is a series of notes selected among these twelve notes. Each of these note ...
Pitch is directly related to frequency and my analysis of ragas is
... Our voice can produce several frequencies with the limitation of three or four octaves only. It is known that the frequency between any key and the key immediately to its left is a constant which is being equal to the twelfth root of two or 1.059. By the time we reached the thirteenth key, we have d ...
... Our voice can produce several frequencies with the limitation of three or four octaves only. It is known that the frequency between any key and the key immediately to its left is a constant which is being equal to the twelfth root of two or 1.059. By the time we reached the thirteenth key, we have d ...
MSP_lecture8 - New York University
... 1. play the first row (we’ll call the “base” scale) 2. play the "harmony 1" scale simultaneously with the base scale 3. play the "harmony 2" scale simultaneously with the base scale *This is known as parallel motion ...
... 1. play the first row (we’ll call the “base” scale) 2. play the "harmony 1" scale simultaneously with the base scale 3. play the "harmony 2" scale simultaneously with the base scale *This is known as parallel motion ...
VAN TECH MUSIC THEORY Package – IA
... The Level IA program is intended for students in Beginning Concert Band, Junior Orchestra and new members of Concert Choir. The program focuses on very simple skills of reading, notation and the language of music. Activities are noted in each section of this program guide and will be handed out in c ...
... The Level IA program is intended for students in Beginning Concert Band, Junior Orchestra and new members of Concert Choir. The program focuses on very simple skills of reading, notation and the language of music. Activities are noted in each section of this program guide and will be handed out in c ...
From Pythagoras to Johann Sebastian Bach: An
... founded upon the study of space between pitches, better known as intervals.2 Though the sounds of equal and mean tone temperament are most familiar, other temperaments beg attention for the explanation of how modern temperaments came about. The reason for the foundation and development of temperamen ...
... founded upon the study of space between pitches, better known as intervals.2 Though the sounds of equal and mean tone temperament are most familiar, other temperaments beg attention for the explanation of how modern temperaments came about. The reason for the foundation and development of temperamen ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
Octaves and the Major-Minor Tonal System
... The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequencies are related. Octaves aren't the ...
... The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequencies are related. Octaves aren't the ...
Orchestral Texture and Unison Composition
... the melody played by the horns and the cello. Similarly, the trumpet and oboe are coupled to produce very clear tones. The tuba can also couple the double basses as a supporting foundation. In example 6 I have presented an example of some octave tutti that can be used in a typically tense or bold co ...
... the melody played by the horns and the cello. Similarly, the trumpet and oboe are coupled to produce very clear tones. The tuba can also couple the double basses as a supporting foundation. In example 6 I have presented an example of some octave tutti that can be used in a typically tense or bold co ...
Twelve Tone Serialism - Mathematics and Computer Science
... As more instruments were used in composition, music gained a new dimension. People began recording the dances of their native countries and creating entertaining stories of love and heroism (Forney, 82). This led to music becoming more widespread, and used for entertainment rather than sacred purpos ...
... As more instruments were used in composition, music gained a new dimension. People began recording the dances of their native countries and creating entertaining stories of love and heroism (Forney, 82). This led to music becoming more widespread, and used for entertainment rather than sacred purpos ...
Areas_of_study
... the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
here
... the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
Keyboard Layout
... Understanding Half Steps and Whole Steps The distance between any two musical notes is called an interval. In Western musical notation, the smallest interval is the half step (or semitone). A whole step, by extension, is an interval equal to two half steps. Musicians combine half steps and whole ste ...
... Understanding Half Steps and Whole Steps The distance between any two musical notes is called an interval. In Western musical notation, the smallest interval is the half step (or semitone). A whole step, by extension, is an interval equal to two half steps. Musicians combine half steps and whole ste ...
presentation source
... From our creation of music with fractal properties, we found that music can have fractals in many different aspects of its structure. It also can have many different rules of iteration for each of these aspects. We also analyzed the musicality of our pieces and found that, indeed, fractals can creat ...
... From our creation of music with fractal properties, we found that music can have fractals in many different aspects of its structure. It also can have many different rules of iteration for each of these aspects. We also analyzed the musicality of our pieces and found that, indeed, fractals can creat ...
The Diatonic Scale - Metropolitan Cantor Institute
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
Notes, Octaves, Scales and Modes
... Notes, Octaves, Scales and Modes The interval we call an octave is a simple mathematical relationship − the higher note is vibrating twice as fast as the lower. So in modern concert pitch, the A above middle C is 440Hz, the A an octave above that is 880Hz, the A below middle C is 220Hz. In modern we ...
... Notes, Octaves, Scales and Modes The interval we call an octave is a simple mathematical relationship − the higher note is vibrating twice as fast as the lower. So in modern concert pitch, the A above middle C is 440Hz, the A an octave above that is 880Hz, the A below middle C is 220Hz. In modern we ...
1 - USC Upstate
... subdivided into smaller fractions (a whole note is divided into two half notes or four quarter notes, etc.). Traditional West African music is additive in that it adds various pulses in a twelve-beat rhythmic time line. This relates to a difference of thought in which African music can be thought of ...
... subdivided into smaller fractions (a whole note is divided into two half notes or four quarter notes, etc.). Traditional West African music is additive in that it adds various pulses in a twelve-beat rhythmic time line. This relates to a difference of thought in which African music can be thought of ...
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.