Know Your Chords - Alan`s Guitar Page
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its
... collection of nine pitches, affectionately known by many as the “Tcherepnin Scale.” This collection, which is termed more generically the “nine-step scale,” is symmetrical in its construction. Having only four distinct transpositions, its structure can be viewed in a variety of ways. It is the combi ...
... collection of nine pitches, affectionately known by many as the “Tcherepnin Scale.” This collection, which is termed more generically the “nine-step scale,” is symmetrical in its construction. Having only four distinct transpositions, its structure can be viewed in a variety of ways. It is the combi ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... afresh, thoroughly adjusting traditional concepts of tonality. He shows that Debussy‘s harmonic originality lies close to the musical surface, and analytical reductions, particularly to familiar tonal objects, tend to conceal its harmonic methods.These methods include the use of whole-step/half-step ...
... afresh, thoroughly adjusting traditional concepts of tonality. He shows that Debussy‘s harmonic originality lies close to the musical surface, and analytical reductions, particularly to familiar tonal objects, tend to conceal its harmonic methods.These methods include the use of whole-step/half-step ...
Dissonant Harmony and “Seed-Tones”
... as cycles of equal intervals (i.e., the circle of fifths). The “new sense of space” similarly implies interval cycles because of its emphasis on beginning with musical space as a whole and then partitioning it. Finally, Rudhyar’s “seed-tones” act as dissonant tonic sonorities that guarantee the orga ...
... as cycles of equal intervals (i.e., the circle of fifths). The “new sense of space” similarly implies interval cycles because of its emphasis on beginning with musical space as a whole and then partitioning it. Finally, Rudhyar’s “seed-tones” act as dissonant tonic sonorities that guarantee the orga ...
The Influence of Renaissance Music in Ernst Krenek`s Lamentatio
... Recognition of the work’s diverse sources of influence is essential for performing and understanding Lamentatio. The work presents daunting challenges for scholars, performers, and listeners. Krenek himself calls it “fiendishly difficult.”2 Perhaps due to its great difficulty, the work was not perfo ...
... Recognition of the work’s diverse sources of influence is essential for performing and understanding Lamentatio. The work presents daunting challenges for scholars, performers, and listeners. Krenek himself calls it “fiendishly difficult.”2 Perhaps due to its great difficulty, the work was not perfo ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... nature of the mind and will that manifests itself through the action of the intellect and senses. The metaphysical principle guiding musical expression is both “objective and subjective, a necessary result of the senses which perceive the relations or sounds and of the intellect which measures their ...
... nature of the mind and will that manifests itself through the action of the intellect and senses. The metaphysical principle guiding musical expression is both “objective and subjective, a necessary result of the senses which perceive the relations or sounds and of the intellect which measures their ...
karnATik Glossary
... fifth - a jump from one note to the fifth note above it (8 half steps, inclusive). sa to pa is a perfect fifth, as is C to G first speed - the 1st kaala, usually using 1 swara per beat in musical practice. However, it may use more swaras per beat (usually 4 in concerts and for kritis), thus changing ...
... fifth - a jump from one note to the fifth note above it (8 half steps, inclusive). sa to pa is a perfect fifth, as is C to G first speed - the 1st kaala, usually using 1 swara per beat in musical practice. However, it may use more swaras per beat (usually 4 in concerts and for kritis), thus changing ...
Challenging Notions of Tessitura: Its Identification and Redefinition
... Italian Dictionaries. Music and General A summary of the definitions of tessitura excerpted from various Italian lexicons is also useful to this discussion. Some of these sources attribute the identification of vocal categories (soprano from mezzo, tenor from bass) to the placement of the tessitura. ...
... Italian Dictionaries. Music and General A summary of the definitions of tessitura excerpted from various Italian lexicons is also useful to this discussion. Some of these sources attribute the identification of vocal categories (soprano from mezzo, tenor from bass) to the placement of the tessitura. ...
Write like Mozart – lecture notes Table of Contents
... Analysis: Schubert's Der Müller und der Bach..................................................................................51 Chromatic substitutions: augmented sixth chords..............................................................................52 Types of augmented sixth................... ...
... Analysis: Schubert's Der Müller und der Bach..................................................................................51 Chromatic substitutions: augmented sixth chords..............................................................................52 Types of augmented sixth................... ...
Chords symbols and their chords
... not just on the internet. And where sheet music gives both chord symbols and a fully written-out accompaniment, these are sometimes intended as alternatives, and may work badly together. ...
... not just on the internet. And where sheet music gives both chord symbols and a fully written-out accompaniment, these are sometimes intended as alternatives, and may work badly together. ...
Stravinsky and the Octatonic: A Reconsideration
... rst, because they provide natural scalar counterparts to the extended triadic sonorities much beloved by early twentieth-century composers; and second, because as scales they are recognizably similar to the major and minor scales of the classical tradition.2 The four scales in question are the dia ...
... rst, because they provide natural scalar counterparts to the extended triadic sonorities much beloved by early twentieth-century composers; and second, because as scales they are recognizably similar to the major and minor scales of the classical tradition.2 The four scales in question are the dia ...
Understanding Basic Music Theory
... where to go next (repeats (Section 1.2.9), for example) and even give directions for how to perform particular notes (accents (pg 57), for example). ...
... where to go next (repeats (Section 1.2.9), for example) and even give directions for how to perform particular notes (accents (pg 57), for example). ...
music-10th-edition-kamien-test-bank
... B. a central tone, scale, and chord. C. any twelve random pitches. D. a musical symbol placed at the beginning of the staff. 121.The sense of relatedness to a central tone is known as A. modulation. B. tonality. C. transposition. D. atonal. 122.Tonality is another term for A. key. B. scale. C. chrom ...
... B. a central tone, scale, and chord. C. any twelve random pitches. D. a musical symbol placed at the beginning of the staff. 121.The sense of relatedness to a central tone is known as A. modulation. B. tonality. C. transposition. D. atonal. 122.Tonality is another term for A. key. B. scale. C. chrom ...
Expanded tonality - Scholar Commons
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
A Theory of Tonal Hierarchies in Music
... musical structure and a well-studied empirical phenomenon. As a theoretical concept, the essential idea is that a musical context establishes a hierarchy of tones. Certain musical tones are more prominent, stable, and structurally significant than others, thus yielding a hierarchical ordering of to ...
... musical structure and a well-studied empirical phenomenon. As a theoretical concept, the essential idea is that a musical context establishes a hierarchy of tones. Certain musical tones are more prominent, stable, and structurally significant than others, thus yielding a hierarchical ordering of to ...
Sample Pages - Oxford University Press
... As Stumpf’s careful comments in Part II of The Origins of Music show, the distinctions between detuned pitches and non-diatonic pitches, between stable rhythmic patterning and disorganized ensemble playing, rely on the musicians’ intent as determined by consistency across multiple performances. A ca ...
... As Stumpf’s careful comments in Part II of The Origins of Music show, the distinctions between detuned pitches and non-diatonic pitches, between stable rhythmic patterning and disorganized ensemble playing, rely on the musicians’ intent as determined by consistency across multiple performances. A ca ...
Harmonic innovations in the piano works of Debussy and Ravel
... It must not be thought that intervals or conventional triads are being neglected. ...
... It must not be thought that intervals or conventional triads are being neglected. ...
Revisiting the Innate Preference for Consonance (PDF
... complex frequency ratios. Although infants exhibit enhanced processing (i.e., better short-term memory [STM]) for sequential intervals with simple frequency ratios over those with complex ratios (Schellenberg & Trehub, 1996), there has been no attempt to assess differential interest in such sequenti ...
... complex frequency ratios. Although infants exhibit enhanced processing (i.e., better short-term memory [STM]) for sequential intervals with simple frequency ratios over those with complex ratios (Schellenberg & Trehub, 1996), there has been no attempt to assess differential interest in such sequenti ...
Claude Debussy The Piano Music
... mystery here is enhanced by the burial of the principal line in the middle of the opening chords, from which it emerges in the third bar. According to one of Debussy’s biographers, the title refers to a sculpture of three dancers in the Louvre. The title Voiles (Sails or Veils) continues to be the s ...
... mystery here is enhanced by the burial of the principal line in the middle of the opening chords, from which it emerges in the third bar. According to one of Debussy’s biographers, the title refers to a sculpture of three dancers in the Louvre. The title Voiles (Sails or Veils) continues to be the s ...
scale networks and debussy
... scales represent natural objects of exploration for those early-twentiethcentury composers who wanted to expand the resources of traditional tonal music without discarding such concepts as “triad” and “scale step.” One point of clarification is in order. Although I have noted that all of the DS scal ...
... scales represent natural objects of exploration for those early-twentiethcentury composers who wanted to expand the resources of traditional tonal music without discarding such concepts as “triad” and “scale step.” One point of clarification is in order. Although I have noted that all of the DS scal ...
A propos du « mouvement musical » chez Debussy :
... From this point on, the cycles of intervals are labeled according to the system adopted by Perle. See in particular, The Operas of Alban Berg, Vol. 2: Lulu (Berkeley and Los Angeles: University of California Press, 1985), 199. For example, C20 is the cycle of interval class 2 including the pitch cla ...
... From this point on, the cycles of intervals are labeled according to the system adopted by Perle. See in particular, The Operas of Alban Berg, Vol. 2: Lulu (Berkeley and Los Angeles: University of California Press, 1985), 199. For example, C20 is the cycle of interval class 2 including the pitch cla ...
Stream Segregation and Perceived Syncopation
... properties” (313). With this definition, Schachter is referring to the rhythmic patterns that can be created by tonal (or pitchrelated) elements such as “the recurrence of a tone after one or more different ones, the octave relationship, chordal and linear associations, consonance and dissonance” (3 ...
... properties” (313). With this definition, Schachter is referring to the rhythmic patterns that can be created by tonal (or pitchrelated) elements such as “the recurrence of a tone after one or more different ones, the octave relationship, chordal and linear associations, consonance and dissonance” (3 ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... meaning of “contra” is not only that of a vertical opposition between cantus firmus and discantus. As Sachs has remarked […], the preposition “contra” equally means a horizontal opposition between successive intervals in the given sequence. This requirement is not very explicit, but it is reflected ...
... meaning of “contra” is not only that of a vertical opposition between cantus firmus and discantus. As Sachs has remarked […], the preposition “contra” equally means a horizontal opposition between successive intervals in the given sequence. This requirement is not very explicit, but it is reflected ...
Full PDF - 2012 Book Archive
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
Is Relative Pitch Specific to Pitch?
... contains the sign of each change, but not its magnitude. The intervals are the exact amounts by which the pitch changes from note to note. For randomly generated novel melodies, recognition is dominated by the contour (Dowling, 1978; Dowling & Fujitani, 1970). For familiar melodies, both contour and ...
... contains the sign of each change, but not its magnitude. The intervals are the exact amounts by which the pitch changes from note to note. For randomly generated novel melodies, recognition is dominated by the contour (Dowling, 1978; Dowling & Fujitani, 1970). For familiar melodies, both contour and ...
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.