Beginning to Learn the Byzantine Musical System Using Western
... music does. Instead, it employs four full scale genres called diatonic, enharmonic, soft chromatic, and hard chromatic. (These are not to be confused with similar terms as used in Western music theory.) While Western scales are made up of intervals called steps and half-steps, Byzantine scales have ...
... music does. Instead, it employs four full scale genres called diatonic, enharmonic, soft chromatic, and hard chromatic. (These are not to be confused with similar terms as used in Western music theory.) While Western scales are made up of intervals called steps and half-steps, Byzantine scales have ...
11( 31 11 ( 11( 31 11 ( 31 11 31
... scales and styles. It was St. John of Damascus who codified a system of eight musical genres, selected because they were not too theatrical or worldly, and they reflected certain spiritual qualities, thus helping to create an atmosphere for prayer. This system is called the octoechos (eight tones). ...
... scales and styles. It was St. John of Damascus who codified a system of eight musical genres, selected because they were not too theatrical or worldly, and they reflected certain spiritual qualities, thus helping to create an atmosphere for prayer. This system is called the octoechos (eight tones). ...
Brief background The tonal hierarchy The first probe tone study
... the tonic tone is the tone of ultimate rest toward which all other ones tend to move. 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 on ...
... the tonic tone is the tone of ultimate rest toward which all other ones tend to move. 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 on ...
Morton Feldman and Abstract Expressionism
... having an effect on us at a sensory level. Like the New York artists, Feldman believed that, to obtain visibility (which however can be captured only as the ‘atmosphere’ of the painting), one needs above all to provide experiences of transition and dissolution. The dominant categories of art music, ...
... having an effect on us at a sensory level. Like the New York artists, Feldman believed that, to obtain visibility (which however can be captured only as the ‘atmosphere’ of the painting), one needs above all to provide experiences of transition and dissolution. The dominant categories of art music, ...
A Periodicity-Based Approach on Harmony Perception Including
... but also by the psychophysics of tone perception (Langner, 2007; Parncutt, 1989; Roederer, 2008). Thus, in order to better understand the process of musical creativity, the following questions should be addressed: 1. What are underlying (psychophysical) principles of music perception? 2. How can the ...
... but also by the psychophysics of tone perception (Langner, 2007; Parncutt, 1989; Roederer, 2008). Thus, in order to better understand the process of musical creativity, the following questions should be addressed: 1. What are underlying (psychophysical) principles of music perception? 2. How can the ...
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 ...
Band 8/9 Playing Tests BUGS Individual test – FEBRUARY 25
... understanding of dynamics. Shows an incomplete understanding of learning. Extensive support required. Demonstrates limited understanding of how tune. Shows an incomplete understanding of learning. Extensive support required. Demonstrates limited understanding of how to sit ...
... understanding of dynamics. Shows an incomplete understanding of learning. Extensive support required. Demonstrates limited understanding of how tune. Shows an incomplete understanding of learning. Extensive support required. Demonstrates limited understanding of how to sit ...
Sound Forms For Piano
... audiences of the 1920s, it appeared that the young composer-pianist had gone berserk and was simply pounding the instrument at random with both fists. With historical perspective in our favor and even wilder things in our ears, we can appreciate that this piece represents a breakthrough in piano son ...
... audiences of the 1920s, it appeared that the young composer-pianist had gone berserk and was simply pounding the instrument at random with both fists. With historical perspective in our favor and even wilder things in our ears, we can appreciate that this piece represents a breakthrough in piano son ...
Matt Pike Music 122 Final Paper Ravel – String Quartet in F Major
... harmony into an area that seems unknown and foreign, but by instantaneously committing to that new harmonic area, the flow of the piece doesn't seem broken by the transition. This example also illuminates another one of Ravel's techniques for harmonic expansion. He would take a chord and move some o ...
... harmony into an area that seems unknown and foreign, but by instantaneously committing to that new harmonic area, the flow of the piece doesn't seem broken by the transition. This example also illuminates another one of Ravel's techniques for harmonic expansion. He would take a chord and move some o ...
Harmonic Progression - LearnMusicTheory.net
... A harmonic progression is a goal-directed succession of chords. Composers from the 1600s through the 1800s favored certain strong harmonic progressions. The strongest of all progressions involves the root of the chord moving down a fifth (or up a fourth), especially dominant (V) to tonic (I or i). ...
... A harmonic progression is a goal-directed succession of chords. Composers from the 1600s through the 1800s favored certain strong harmonic progressions. The strongest of all progressions involves the root of the chord moving down a fifth (or up a fourth), especially dominant (V) to tonic (I or i). ...
Tonal structure and scales - Jacobs University Mathematics
... applied in investigating the perception of North Indian and Balinese music. ...
... applied in investigating the perception of North Indian and Balinese music. ...
lecture15
... B. Pitch depends on duration and on envelope of sound, and is effected by interfering sounds: • The perceived pitch of a short exponentially decaying sinusoidal tone is found to be higher than a simple sine tone with the same frequency and energy • The same is true for sinusoidal tones rising expon ...
... B. Pitch depends on duration and on envelope of sound, and is effected by interfering sounds: • The perceived pitch of a short exponentially decaying sinusoidal tone is found to be higher than a simple sine tone with the same frequency and energy • The same is true for sinusoidal tones rising expon ...
Other diatonic 7th chords
... augmented 4th or a diminished 5th (between viiØ7 and IVM7 in major and VIM7 and iiØ7 in minor). This is acceptable because the powerful and rhetorical drive of the sequence overpowers the apparent voice leading problem of the leap. ...
... augmented 4th or a diminished 5th (between viiØ7 and IVM7 in major and VIM7 and iiØ7 in minor). This is acceptable because the powerful and rhetorical drive of the sequence overpowers the apparent voice leading problem of the leap. ...
Supporting Materials - Melody, Rhythm, Accompaniment
... The pentatonic scales are especially useful for developing improvisational skills. The absence of half steps removes the leading tone tendency associated with traditional harmony. Melodies can be improvised that are free to follow their own logic rather than fulfill harmonic implications. Improvisat ...
... The pentatonic scales are especially useful for developing improvisational skills. The absence of half steps removes the leading tone tendency associated with traditional harmony. Melodies can be improvised that are free to follow their own logic rather than fulfill harmonic implications. Improvisat ...
A GUIDE TO THE TERMINOLOGY OF GERMAN HARMONY
... The overtly dualistic elements of Riemannian harmony were among the first to fall out of favor, though earlier in this century their presence can still be strongly felt. For example, prewar German writers routinely used the term “dominant harmony” to refer not to a type of chord, V, but to a type of ...
... The overtly dualistic elements of Riemannian harmony were among the first to fall out of favor, though earlier in this century their presence can still be strongly felt. For example, prewar German writers routinely used the term “dominant harmony” to refer not to a type of chord, V, but to a type of ...
On Serial Music
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
COMPOSER`S HANDBOOK FOR THE CLASSICAL ACCORDION
... The air noise is performed with the left hand where the air button is situated and most of the other noises are made with the right hand. Therefore it can be practical to notate the air sounds in the left hand and other pitchless noises in the right hand. Alternative noteheads can be used and are id ...
... The air noise is performed with the left hand where the air button is situated and most of the other noises are made with the right hand. Therefore it can be practical to notate the air sounds in the left hand and other pitchless noises in the right hand. Alternative noteheads can be used and are id ...
Artistic Song Leading (Lesson 1)
... The major scale consists of seven different pitches. There are half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. By changing the fi ...
... The major scale consists of seven different pitches. There are half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. By changing the fi ...
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 ...
Slides - UMD Physics
... C, C#/Db, D, D#/Eb, E, E#, Fb, F, F#/Gb, G, G#/Ab, A, A#/Bb, B or do, do#/re b, re, re#/mi b, mi, mi#/fa b, fa, fa#, sol, sol#/la b, la, la#/sib, si ...
... C, C#/Db, D, D#/Eb, E, E#, Fb, F, F#/Gb, G, G#/Ab, A, A#/Bb, B or do, do#/re b, re, re#/mi b, mi, mi#/fa b, fa, fa#, sol, sol#/la b, la, la#/sib, si ...
Read More About Melody - Seycove Music Composition
... lowers them descending (therefore it’s the same as a natural minor scale descending.) Minor scales have a melancholy or ominous quality to them. ...
... lowers them descending (therefore it’s the same as a natural minor scale descending.) Minor scales have a melancholy or ominous quality to them. ...
Sound - Pitch, Dynamics, and Tone Color
... Like many elements of music, a dynamic indication is not absolutely precise. A tone has a dynamic level – is soft or loud – in relation to other tones around it. The loudest sound of a single violin is tiny compared with an entire orchestra’s, and even further from an amplified rock group’s. ...
... Like many elements of music, a dynamic indication is not absolutely precise. A tone has a dynamic level – is soft or loud – in relation to other tones around it. The loudest sound of a single violin is tiny compared with an entire orchestra’s, and even further from an amplified rock group’s. ...
study guide - Junior High Band
... playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the other notes are the same in both scales. ...
... playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the other notes are the same in both scales. ...
Notes - Andre Mount
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
Pitch - AceHSC
... – theme/tune introduced then another instrument is added playing the same melody, a few bars later, another instrument plays the same melody etc. – Builds texture Improvisation – heavily ornamented Counter melody – contrasting melody played at the same time as the main melody Sequence – motif repeat ...
... – theme/tune introduced then another instrument is added playing the same melody, a few bars later, another instrument plays the same melody etc. – Builds texture Improvisation – heavily ornamented Counter melody – contrasting melody played at the same time as the main melody Sequence – motif repeat ...
Tone cluster
A tone cluster is a musical chord comprising at least three adjacent tones in a scale. Prototypical tone clusters are based on the chromatic scale and are separated by semitones. For instance, three adjacent piano keys (such as C, C♯, and D) struck simultaneously produce a tone cluster. Variants of the tone cluster include chords comprising adjacent tones separated diatonically, pentatonically, or microtonally. On the piano, such clusters often involve the simultaneous striking of neighboring white or black keys.The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Composers such as Béla Bartók and, later, Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster, which feature in the work of many twentieth- and twenty-first-century classical composers. Tone clusters play a significant role, as well, in the work of free jazz musicians such as Cecil Taylor and Matthew Shipp.In most Western music, tone clusters tend to be heard as dissonant. Clusters may be performed with almost any individual instrument on which three or more notes can be played simultaneously, as well as by most groups of instruments or voices. Keyboard instruments are particularly suited to the performance of tone clusters because it is relatively easy to play multiple notes in unison on them.