Grade 9 Music Exam Review
... The sound that results when two or more pitches are performed simultaneously. It is the vertical aspect of music, produced by the combination of the components of the horizontal aspect The quality of a sound that distinguished it from another. Texture of an instrument of voice is determined by its s ...
... The sound that results when two or more pitches are performed simultaneously. It is the vertical aspect of music, produced by the combination of the components of the horizontal aspect The quality of a sound that distinguished it from another. Texture of an instrument of voice is determined by its s ...
(Answers and Exam Piece).
... The sound that results when two or more pitches are performed simultaneously. It is the vertical aspect of music, produced by the combination of the components of the horizontal aspect The quality of a sound that distinguished it from another. Texture of an instrument of voice is determined by its s ...
... The sound that results when two or more pitches are performed simultaneously. It is the vertical aspect of music, produced by the combination of the components of the horizontal aspect The quality of a sound that distinguished it from another. Texture of an instrument of voice is determined by its s ...
Tonic and Dominant
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...
Concepts Word Bank - Stage 5
... STRUCTURE – the form or order of parts in a song Form – the order of parts 12 Bar Blues Form – 12 bars made up of chords I, IV and V. Binary form – 2 parts AB Verse/Chorus Form – the typical form of a piece of popular music also featuring an intro, bridge or middle 8 and outro Ternary form – 3 parts ...
... STRUCTURE – the form or order of parts in a song Form – the order of parts 12 Bar Blues Form – 12 bars made up of chords I, IV and V. Binary form – 2 parts AB Verse/Chorus Form – the typical form of a piece of popular music also featuring an intro, bridge or middle 8 and outro Ternary form – 3 parts ...
Phy123 PianoDesign-sol
... we will plan for our piano. Most pianos have 88 keys and therefore 88 different pitches or tones. Each string produces a different tone, so the average piano has 88 strings. We will design for a minimum of 85 tones and therefore, 85 strings. The frame of the piano must fit into the living room of a ...
... we will plan for our piano. Most pianos have 88 keys and therefore 88 different pitches or tones. Each string produces a different tone, so the average piano has 88 strings. We will design for a minimum of 85 tones and therefore, 85 strings. The frame of the piano must fit into the living room of a ...
Musical Terms - Rogers State University
... – moves in whole or half steps • Disjunct melody – many large skips and may sound “jagged” – moves in more than a whole step ...
... – moves in whole or half steps • Disjunct melody – many large skips and may sound “jagged” – moves in more than a whole step ...
Lecture 06 Part II a little more history of science
... pleasing together. • They are dissonant if they do not. • BUT whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and not others. • Pythagoras did not subscribe to the last ...
... pleasing together. • They are dissonant if they do not. • BUT whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and not others. • Pythagoras did not subscribe to the last ...
Psaltery - Gandharva Loka
... stretched triangle. The pegs are fixed at the edge on both sides. The strings are played between the pegs with a bow. The chromatic type has 20 strings with a scale from C´ to G´´. On the right side there are the notes of C major, on the left side the complementary half-notes. The pentatonic Psalter ...
... stretched triangle. The pegs are fixed at the edge on both sides. The strings are played between the pegs with a bow. The chromatic type has 20 strings with a scale from C´ to G´´. On the right side there are the notes of C major, on the left side the complementary half-notes. The pentatonic Psalter ...
Mr Allen`s Final Review
... -------------------------------Chromatic Scale – Moving by ½ steps. Please know your chromatic fingers, two octaves extra credit! ...
... -------------------------------Chromatic Scale – Moving by ½ steps. Please know your chromatic fingers, two octaves extra credit! ...
music notes
... Legato: smoothly and well connected. Refers to a melody or chords that are played by moving immediately from one note to another, without a gap. Scat: is a style of singing made popular by the jazz singer. Falsetto: is a method of singing used by males. ...
... Legato: smoothly and well connected. Refers to a melody or chords that are played by moving immediately from one note to another, without a gap. Scat: is a style of singing made popular by the jazz singer. Falsetto: is a method of singing used by males. ...
UNIT 1: ELEMENTS
... highest and lowest pitch in a song or that an instrument can play Pitch – the first tool a composer has in creating a mood. ...
... highest and lowest pitch in a song or that an instrument can play Pitch – the first tool a composer has in creating a mood. ...
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. ...
Higher Music Literacy Unit 4 – Intervals
... distance of 8 notes between 2 notes of the same name. ...
... distance of 8 notes between 2 notes of the same name. ...
JS Bach`s canon per tonus
... Offering. The melody rises two half-tones each time the canon is repeated (this should illustrate the rising glory of Frederick the Great to whom the Musical Offering was dedicated). The canon starts in C minor. After the first run it ends in D minor, so the second turn begins two halftones higher t ...
... Offering. The melody rises two half-tones each time the canon is repeated (this should illustrate the rising glory of Frederick the Great to whom the Musical Offering was dedicated). The canon starts in C minor. After the first run it ends in D minor, so the second turn begins two halftones higher t ...
Music unit of work: an example of a completed medium
... moods and motifs for specific advert; some motif development; few – can exploit one of these techniques well to promote ‘selling point’ of product with advanced manipulation of motif. ...
... moods and motifs for specific advert; some motif development; few – can exploit one of these techniques well to promote ‘selling point’ of product with advanced manipulation of motif. ...
Tones and Semitones
... In the "C major" scale, both the first and the last notes are Cs- but how do we know what the inbetween notes are? On the piano, a C major scale uses all the white notes (so it doesn't have any sharps or flats), but on other instruments, we don't have white notes, so how do we know which notes to us ...
... In the "C major" scale, both the first and the last notes are Cs- but how do we know what the inbetween notes are? On the piano, a C major scale uses all the white notes (so it doesn't have any sharps or flats), but on other instruments, we don't have white notes, so how do we know which notes to us ...
Reference Guide to Music Literacy
... Reference Guide to Music Literacy National 4 Treble Clef Notes ...
... Reference Guide to Music Literacy National 4 Treble Clef Notes ...
Music Theory 171 Questions on Chapters 3A, 3B and 3C 3A
... 2. What does this say about the relationship between the fifth, the fourth and the octave? 3. What is created between the fifth and the fourth, and what is its ratio? 4. The notes of the major, minor, Phrygian and Middle Eastern tetrachords and listed on this page. Transpose them to the key of D and ...
... 2. What does this say about the relationship between the fifth, the fourth and the octave? 3. What is created between the fifth and the fourth, and what is its ratio? 4. The notes of the major, minor, Phrygian and Middle Eastern tetrachords and listed on this page. Transpose them to the key of D and ...
Lecture Set 07
... The Pythagoreans believed that the laws of physics could be revealed NOT by observation but by pure thought. So they thought about the results that we just mentioned and came up with the “rule” to form the various intervals of the scale. ...
... The Pythagoreans believed that the laws of physics could be revealed NOT by observation but by pure thought. So they thought about the results that we just mentioned and came up with the “rule” to form the various intervals of the scale. ...
1 Terms and Definitions Characteristics of Modern and Postmodern
... Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music (see textbook and lecture notes) Tone cluster: ...
... Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music (see textbook and lecture notes) Tone cluster: ...
Voice leading from IV-V
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
Lecture Series 1 Exam Review
... 8-What is amplitude is scientific terms? 9-Give another term for tone color? 10-Which dynamic marking is the softest? 11-The distance between two pitches that seem to duplicate each other and blend very well together is called: 12-The set of seven pitches used in Western music is called a(n): 13-Wha ...
... 8-What is amplitude is scientific terms? 9-Give another term for tone color? 10-Which dynamic marking is the softest? 11-The distance between two pitches that seem to duplicate each other and blend very well together is called: 12-The set of seven pitches used in Western music is called a(n): 13-Wha ...
Music Definitions
... It is decided by the frequency of its vibrations Measured in cycles per second Pitch Range – the distance between the lowest and highest tones Dynamics – Loudness or softness in music Accent – emphasis of a tone by a performer Decrescendo – Gradually softer Crescendo – Gradually louder Tone Color (t ...
... It is decided by the frequency of its vibrations Measured in cycles per second Pitch Range – the distance between the lowest and highest tones Dynamics – Loudness or softness in music Accent – emphasis of a tone by a performer Decrescendo – Gradually softer Crescendo – Gradually louder Tone Color (t ...
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.