View printable PDF of 6.7 Contemporary Chords and Harmonic
... Tone cluster with 2 notes raised an octave ...
... Tone cluster with 2 notes raised an octave ...
Nonchord tone - Chord Melody
... A non-chord tone, non-harmonic tone, or non-harmony note is a note in a piece of music which is not a part of the chord that is formed by the other notes sounding at the time. Non-chord tones are most often discussed in the context of music of the common practice period, but can be used in analysis ...
... A non-chord tone, non-harmonic tone, or non-harmony note is a note in a piece of music which is not a part of the chord that is formed by the other notes sounding at the time. Non-chord tones are most often discussed in the context of music of the common practice period, but can be used in analysis ...
59. Gong Kebyar de Sebatu (Bali) Baris Melampahan
... fourth (Kempli) beat of each bar in the written score all tuned metallophones play note 2 of the scale (as well as being an important moment in each rhythmic cycle this is also a very useful aural ‘marker’ to aid listening to the recording whilst following the score). The rest of the cycle generally ...
... fourth (Kempli) beat of each bar in the written score all tuned metallophones play note 2 of the scale (as well as being an important moment in each rhythmic cycle this is also a very useful aural ‘marker’ to aid listening to the recording whilst following the score). The rest of the cycle generally ...
f 1 - Jacobs University Mathematics
... fundamental frequency f0. Any two successive tones of the upper harmonic series form a pair with the same repetition rate of fundamental frequency f0. All upper harmonics , if sounded together, will produce one single subjective pitch sensation corresponding to f_0 – even if that latter frequenc ...
... fundamental frequency f0. Any two successive tones of the upper harmonic series form a pair with the same repetition rate of fundamental frequency f0. All upper harmonics , if sounded together, will produce one single subjective pitch sensation corresponding to f_0 – even if that latter frequenc ...
1 Consonance and Dissonance in Theory, Practice and Science
... feeling that tonal music “progresses”. It can also explain the different functions of authentic and interrupted cadences. Meyer’s idea of implication and realization is compatible with our approach to C/D because it balances music-theoretical and music-psychological ways of thinking. It also enable ...
... feeling that tonal music “progresses”. It can also explain the different functions of authentic and interrupted cadences. Meyer’s idea of implication and realization is compatible with our approach to C/D because it balances music-theoretical and music-psychological ways of thinking. It also enable ...
PITCH AND PITCH CLASS - Mr. Deininger`s Page
... Visually it is easier to imagine a piano when referring to pitch name Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the ...
... Visually it is easier to imagine a piano when referring to pitch name Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the ...
The Twelve-Tone Method of Musical Construction
... Avoid using too many melodic intervals of the same or similar size because these may lead to melodic monotony. You may wish to avoid pairs of notes a semitone apart if you feel that they will sound like moving from the leading note to the tonic in a major or minor scale. Unless you actually want you ...
... Avoid using too many melodic intervals of the same or similar size because these may lead to melodic monotony. You may wish to avoid pairs of notes a semitone apart if you feel that they will sound like moving from the leading note to the tonic in a major or minor scale. Unless you actually want you ...
Computational Models of the Pitch-Rhythm Correspondence
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
File - Bill Troxler
... Scales arrange their pitches in a specific order Number In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classi ...
... Scales arrange their pitches in a specific order Number In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classi ...
A Derivation of the Rules of Voice-leading from Perceptual Principles
... - it is usual for at least one part to move in a different direction but in case 1 all the parts move in the same direction - it is characteristic for the individual voices in a Bach chorale to move predominantly by step but all the voices move in large leaps in case 1. ...
... - it is usual for at least one part to move in a different direction but in case 1 all the parts move in the same direction - it is characteristic for the individual voices in a Bach chorale to move predominantly by step but all the voices move in large leaps in case 1. ...
More Scales than a Fish
... we use 7 tones do re me fa so la ti. How many permutations are there of seven things when repetitions are not allowed and order is important? Answer: 5,040. What an unpleasant thought!! 5040 different scales can be derived from our old friend the diatonic scale. The number gets a lot bigger if we in ...
... we use 7 tones do re me fa so la ti. How many permutations are there of seven things when repetitions are not allowed and order is important? Answer: 5,040. What an unpleasant thought!! 5040 different scales can be derived from our old friend the diatonic scale. The number gets a lot bigger if we in ...
Definition - Murphy Junior High Music
... A dot after a note takes half the note’s value and adds it to the original note, making it that much longer. ...
... A dot after a note takes half the note’s value and adds it to the original note, making it that much longer. ...
NCEA Level 1 Music (91094) 2011 Assessment Schedule
... bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. • Melisma – eg lead vocal, bar 51, “the word ‘ ...
... bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. • Melisma – eg lead vocal, bar 51, “the word ‘ ...
Tonal Harmony Chapter 11 Non Chord Tones 1
... 9-8 suspension is a special kind of suspension because the note of resolution should NOT be present anywhere in the texture when a suspension occurs 11-10 suspensions is actually a 4-3 suspension 9-8 suspension is NOT labeled as a 2-1 suspension because 2-1suspension if found much less frequen ...
... 9-8 suspension is a special kind of suspension because the note of resolution should NOT be present anywhere in the texture when a suspension occurs 11-10 suspensions is actually a 4-3 suspension 9-8 suspension is NOT labeled as a 2-1 suspension because 2-1suspension if found much less frequen ...
Assessment Schedule – 2011
... bass and kick drum, bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. Melisma – eg lead vocal, bar 51, “the word ‘ ...
... bass and kick drum, bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. Melisma – eg lead vocal, bar 51, “the word ‘ ...
Psychology and Music - Diana Deutsch
... intervals other than the pure consonances of the octave, fifth, and fourth allowed by the Pythagoreans. It therefore fell to the theorists of the fifteenth and sixteenth centuries to justify existing practice in the context of the Pythagorean doctrine. This was achieved by Zarlino (1517-1590) who ar ...
... intervals other than the pure consonances of the octave, fifth, and fourth allowed by the Pythagoreans. It therefore fell to the theorists of the fifteenth and sixteenth centuries to justify existing practice in the context of the Pythagorean doctrine. This was achieved by Zarlino (1517-1590) who ar ...
Estimation of harpsichord inharmonicity
... In the vast literature on estimation of fundamental frequency and pitch, there is no single algorithm which is suitable for all signals and applications. Methods are reviewed elsewhere (de Cheveigné, 2006; Klapuri and Davy, 2006, Chaps. 7 and 8), but we summarize here the limitations of many curren ...
... In the vast literature on estimation of fundamental frequency and pitch, there is no single algorithm which is suitable for all signals and applications. Methods are reviewed elsewhere (de Cheveigné, 2006; Klapuri and Davy, 2006, Chaps. 7 and 8), but we summarize here the limitations of many curren ...
Jazz Piano Quartal Voicing Workshop
... Second, the content of chord voicings changed as well. Up until that point, chord voicings, were oriented toward basic seventh chords with little alteration. As time went on, voicings added dissonance reflecting the alterations in harmony that bop introduced. The basic chord voicing, consisting of t ...
... Second, the content of chord voicings changed as well. Up until that point, chord voicings, were oriented toward basic seventh chords with little alteration. As time went on, voicings added dissonance reflecting the alterations in harmony that bop introduced. The basic chord voicing, consisting of t ...
WAYS TO REMEMBER MUSIC THEORY
... In major chords of any kind (triads/major sevenths/6s/ 69s etc) as well as in dominant seventh chords you always have a major 3rd. In minor chords of any kind (minor triads/minor 6s/minor 69s/ minor sevenths etc) you always have a minor 3rd and the symbol m or min or minor is used in the chord symbo ...
... In major chords of any kind (triads/major sevenths/6s/ 69s etc) as well as in dominant seventh chords you always have a major 3rd. In minor chords of any kind (minor triads/minor 6s/minor 69s/ minor sevenths etc) you always have a minor 3rd and the symbol m or min or minor is used in the chord symbo ...
AOS 2 Gamelan
... * Gamelan performances are very important in village life for bringing people together and expressing their feelings in a culture which is not always possible to do so publicly. * The Gamelan is thought to be magical and spiritual – players treat their instruments with total respect and would never ...
... * Gamelan performances are very important in village life for bringing people together and expressing their feelings in a culture which is not always possible to do so publicly. * The Gamelan is thought to be magical and spiritual – players treat their instruments with total respect and would never ...
Major and minor music compared to excited and subdued speech
... number of intervals counted. For example, the frequency of tonic major thirds in classical major melodies was determined by dividing the total number of tonic major thirds in these melodies by the total number of all tonic intervals in these melodies. The MIDI melodies were coded in equal tempered t ...
... number of intervals counted. For example, the frequency of tonic major thirds in classical major melodies was determined by dividing the total number of tonic major thirds in these melodies by the total number of all tonic intervals in these melodies. The MIDI melodies were coded in equal tempered t ...
Week 3 Pitch Class
... classes in each excerpt, writing each letter name only once, in any order. ...
... classes in each excerpt, writing each letter name only once, in any order. ...
lecture15
... •Pitch (as well as loudness) is a subjective characteristic of sound – Some listeners even assign pitch differently depending upon whether the sound was presented to the right or left ear •Pitch characterize how high or low is sound •Pitch is mainly (but not only) determent by the fundamental freque ...
... •Pitch (as well as loudness) is a subjective characteristic of sound – Some listeners even assign pitch differently depending upon whether the sound was presented to the right or left ear •Pitch characterize how high or low is sound •Pitch is mainly (but not only) determent by the fundamental freque ...
MTO 1.1: Rothgeb, The Tristan Chord
... entrance (bar 10) is placed analogously to the two TCs but differs from them in intervallic structure. Like the TC, it is enharmonically equivalent to a half-diminished seventh chord (this time in the “third inversion”), but, also like the TC, its specific intervals (in particular the augmented fift ...
... entrance (bar 10) is placed analogously to the two TCs but differs from them in intervallic structure. Like the TC, it is enharmonically equivalent to a half-diminished seventh chord (this time in the “third inversion”), but, also like the TC, its specific intervals (in particular the augmented fift ...
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.