Hearing Math and Seeing Music: a Workshop on Pitch Perception
... use only 3 : 2 and 2 : 1 frequency ratios to generate pitches in a 12-tone Pythagorean scale, comparing the Pythagorean major third to the just intonation major third. We will hear beats if we play the two chords together and can use either Audacity or Desmos to see why they occur when intervals are ...
... use only 3 : 2 and 2 : 1 frequency ratios to generate pitches in a 12-tone Pythagorean scale, comparing the Pythagorean major third to the just intonation major third. We will hear beats if we play the two chords together and can use either Audacity or Desmos to see why they occur when intervals are ...
Handout on Set Theory: Intervals and Atonality
... say, one octave was as good as any other; we call this “octave equivalence”), we usually start the list of intervals over again after 11, like the hours of a clock (except we’ve put 0 instead of 12). When we talk about notes without reference to their octave, we call this the “pitch class” of a note ...
... say, one octave was as good as any other; we call this “octave equivalence”), we usually start the list of intervals over again after 11, like the hours of a clock (except we’ve put 0 instead of 12). When we talk about notes without reference to their octave, we call this the “pitch class” of a note ...
INTERVALS INTERVAL size and quality
... The consonant intervals are P1, P8, P5, M3, m3, M6, m6, P4 (sometimes). These intervals (besides unison and octave) are the intervals contained in major and minor triads. The P1, P8, and P5 are known as perfect consonances, the M3, m3, M6 and m6 are known as the imperfect consonances. The perfect co ...
... The consonant intervals are P1, P8, P5, M3, m3, M6, m6, P4 (sometimes). These intervals (besides unison and octave) are the intervals contained in major and minor triads. The P1, P8, and P5 are known as perfect consonances, the M3, m3, M6 and m6 are known as the imperfect consonances. The perfect co ...
Maths and music - Project Jugaad
... isn't exactly 3/2 = 1.5, but 2^(7/12) = 1.4983. (The "^" represents an exponent.) The interval of a fourth isn't 4/3 = 1.3333, but 2^(5/12) = 1.3348. The interval of a third isn't 5/4 = 1.25, but 2^(4/12) = 1.2599. I won't say exactly what equal tempering is, but you might be able to figure it out f ...
... isn't exactly 3/2 = 1.5, but 2^(7/12) = 1.4983. (The "^" represents an exponent.) The interval of a fourth isn't 4/3 = 1.3333, but 2^(5/12) = 1.3348. The interval of a third isn't 5/4 = 1.25, but 2^(4/12) = 1.2599. I won't say exactly what equal tempering is, but you might be able to figure it out f ...
Piano tabs – Keyboard tablature Angels We Have Heard On High
... The piano tab notation we will use is an established music notation system used on the internet. Here are the rules: 1. The white keys we will use are notated with lowercase letters. That is, c d e f g a and b. 2. The octave is indicated with a number written at the beginning of a line. The fourth o ...
... The piano tab notation we will use is an established music notation system used on the internet. Here are the rules: 1. The white keys we will use are notated with lowercase letters. That is, c d e f g a and b. 2. The octave is indicated with a number written at the beginning of a line. The fourth o ...
MU 41 Lecture 2 - Music of Antiquity
... a. At 1st within single 8ve (can do with microtones) b. Then on successive pitches c. Various theorists recognize different number d. Given names associated with music of diff. ethnic groups e. Names NOT same as medieval ones, so ignore 4. Eventually came to be known as harmoniai = modes a. Particul ...
... a. At 1st within single 8ve (can do with microtones) b. Then on successive pitches c. Various theorists recognize different number d. Given names associated with music of diff. ethnic groups e. Names NOT same as medieval ones, so ignore 4. Eventually came to be known as harmoniai = modes a. Particul ...
Benward Chapter 3
... Always placed after the name of the note – example, F# Sharp – raises a pitch by a half step Flat – lowers a pitch by a half step Double Flat – lowers a pitch by two half steps Double Sharp – raises a pitch by two half steps Natural – cancels the preceding accidental for the same pitch. ...
... Always placed after the name of the note – example, F# Sharp – raises a pitch by a half step Flat – lowers a pitch by a half step Double Flat – lowers a pitch by two half steps Double Sharp – raises a pitch by two half steps Natural – cancels the preceding accidental for the same pitch. ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
Study Sheet for Keyboards Resource on the wiki
... you have any questions bring them to class. ALL: Treble and Bass Clefs - Know how to read notes in both clefs. Know where to locate any specific note on the keyboard Rhythm-understand how time signatures function-how many beats there are in a measure (can be any #) and what types of notes get one be ...
... you have any questions bring them to class. ALL: Treble and Bass Clefs - Know how to read notes in both clefs. Know where to locate any specific note on the keyboard Rhythm-understand how time signatures function-how many beats there are in a measure (can be any #) and what types of notes get one be ...
Iteractive Music - University of South Carolina
... popular among students. It provides immediate access to other high-quality information sources in related fields such as math, general science and physics. Recent innovations in digital audio/video compression and streaming technology have made the dissemination of the high-quality audio required by ...
... popular among students. It provides immediate access to other high-quality information sources in related fields such as math, general science and physics. Recent innovations in digital audio/video compression and streaming technology have made the dissemination of the high-quality audio required by ...
Basic Music Theory
... Basic Music Theory Western Music is derived from an equally tempered “tuning” and contains 12 different pitches: A, A#, B, C, C#, D, D#, E, F, F#, G, G# Same thing written with flats (enharmonic equivalent): A, Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab Pitch: the frequency of a note; how high or deep it ...
... Basic Music Theory Western Music is derived from an equally tempered “tuning” and contains 12 different pitches: A, A#, B, C, C#, D, D#, E, F, F#, G, G# Same thing written with flats (enharmonic equivalent): A, Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab Pitch: the frequency of a note; how high or deep it ...
Introduction to Music
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
sign lesson term definition
... natural minor scale with the 6th and 7th raised on the way up and lowered on the way down ...
... natural minor scale with the 6th and 7th raised on the way up and lowered on the way down ...
Musical Terms: Musicians use certain words and phrases (that may
... Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pitch can also be altered in terms of dynamics and tone quality (timbre). Scales and Intervals are the building blocks of musical language. ...
... Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pitch can also be altered in terms of dynamics and tone quality (timbre). Scales and Intervals are the building blocks of musical language. ...
The Pythagorean Comma The Spiral of Fifths and Equal Temperament
... instruments like keyboards and fretted instruments must have a way to manage this error. The various schemes to do this are called temperaments. The Pythagoreans left the entire comma in the least used fifth between G# and Eb. This left all of the fifths in tune except for the G#-Eb interval which w ...
... instruments like keyboards and fretted instruments must have a way to manage this error. The various schemes to do this are called temperaments. The Pythagoreans left the entire comma in the least used fifth between G# and Eb. This left all of the fifths in tune except for the G#-Eb interval which w ...
Voice leading from IV-V
... bass moves up to G, and we try to move the other tones by a single step. This is possible for the tenor (A to G) and soprano (C to B) but the alto has no V chord tone within a single step, so we move it by the smallest possible step, from F to D. ...
... bass moves up to G, and we try to move the other tones by a single step. This is possible for the tenor (A to G) and soprano (C to B) but the alto has no V chord tone within a single step, so we move it by the smallest possible step, from F to D. ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... scale since intervals such as semitones, minor thirds and perfect fifths are absent from the third-tone scale. Soon after developing his third-tone system Busoni introduced a sixth-tone system which was derived from two series of third-tones a semitone apart from each other. Just as Carrillo, Busoni ...
... scale since intervals such as semitones, minor thirds and perfect fifths are absent from the third-tone scale. Soon after developing his third-tone system Busoni introduced a sixth-tone system which was derived from two series of third-tones a semitone apart from each other. Just as Carrillo, Busoni ...
Tuning and Temperament
... sounds particularly good. We've listened to pianos and guitars for so long that we're pretty much used to it - music just sounds like that……………… The hurdy-gurdy is a good place to experiment with temperament, since it's a whole lot easier to move the tangent than to move the frets around on a guitar ...
... sounds particularly good. We've listened to pianos and guitars for so long that we're pretty much used to it - music just sounds like that……………… The hurdy-gurdy is a good place to experiment with temperament, since it's a whole lot easier to move the tangent than to move the frets around on a guitar ...
Lecture 06 Part II a little more history of science
... Pythagoras Observed ….. • The heavier the bell, the “lower” the tone. • The water inside a glass was directly related to the tone. • He probably NEVER made any of these ...
... Pythagoras Observed ….. • The heavier the bell, the “lower” the tone. • The water inside a glass was directly related to the tone. • He probably NEVER made any of these ...
Scales - University of Rochester
... Attempts at new scales Harry Partch’s tuning • American composer Harry Partch (1901-1974) based all of his mature musical compositions on a musical scale tuned in just intonation and based on the 11-limit tonality diamond, played on instruments he designed and built himself to be played in that tu ...
... Attempts at new scales Harry Partch’s tuning • American composer Harry Partch (1901-1974) based all of his mature musical compositions on a musical scale tuned in just intonation and based on the 11-limit tonality diamond, played on instruments he designed and built himself to be played in that tu ...
Theory 9-26 - Introduction to Music Theory
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
Music 181: Structure of the Major Scale
... Half Step; Half Tone; Semitone: Used generically for any interval that can be represented by two adjacent keys on the piano. Whole Tone; Whole Step: Used generically for any interval made up of two half steps. Whole tones are separated by one key on piano. ...
... Half Step; Half Tone; Semitone: Used generically for any interval that can be represented by two adjacent keys on the piano. Whole Tone; Whole Step: Used generically for any interval made up of two half steps. Whole tones are separated by one key on piano. ...
Aspects of mathematics and music in Ancient Greece
... that, when started from the second degree, the scale coincides with the usual major type scale of western music and that two similar tetrachords (tone-tonelimma) are formed. Secondly, that the scale construction is based only on tone (~204 cents) and limma (~90 cents), which actually means that the ...
... that, when started from the second degree, the scale coincides with the usual major type scale of western music and that two similar tetrachords (tone-tonelimma) are formed. Secondly, that the scale construction is based only on tone (~204 cents) and limma (~90 cents), which actually means that the ...
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.