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 ...
Nicola Vicentino and the Enharmonic Diesis
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
Write like Mozart – lecture notes Table of Contents
... Analysis: Beethoven's bagatelle, op. 119 #1......................................................................................53 Harmonic analysis of the first and third phrases............................................................................54 Harmonic analysis of the second phrase... ...
... Analysis: Beethoven's bagatelle, op. 119 #1......................................................................................53 Harmonic analysis of the first and third phrases............................................................................54 Harmonic analysis of the second phrase... ...
Dissonant Harmony and “Seed-Tones”
... the almost total lack of scrutiny his music has received. Even in these analyses, however, Ertan’s emphasis remains on Rudhyar’s philosophy; she mostly explores the poetic and symbolic application of his philosophical ideas to his music. (2) [1.7] In this essay, I complement Ertan’s groundbreaking e ...
... the almost total lack of scrutiny his music has received. Even in these analyses, however, Ertan’s emphasis remains on Rudhyar’s philosophy; she mostly explores the poetic and symbolic application of his philosophical ideas to his music. (2) [1.7] In this essay, I complement Ertan’s groundbreaking e ...
Expanded tonality - Scholar Commons
... David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in o ...
... David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in o ...
A Theory of Tonal Hierarchies in Music
... history (DeVoto 1986). Various units of musical structure have been abstracted from compositional practice since the seventeenth century and codified. These include scales, modes, chords, keys, and relations among keys (the circle of fifths), described in basic music texts (e.g., Piston 1987). The n ...
... history (DeVoto 1986). Various units of musical structure have been abstracted from compositional practice since the seventeenth century and codified. These include scales, modes, chords, keys, and relations among keys (the circle of fifths), described in basic music texts (e.g., Piston 1987). The n ...
At The Cutting Edge: Three American Theorists at The End of The
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
Tempo Ligeti the Postmodernist?
... the perspective of the musical landscape. Even in the enormous web-like structures of Lontano there are always instruments and motifs which are more apparent to the ear; this is almost a chance-like function of Ligeti's orchestration. If all the instruments (or voices) are marked/>/», it is inevitab ...
... the perspective of the musical landscape. Even in the enormous web-like structures of Lontano there are always instruments and motifs which are more apparent to the ear; this is almost a chance-like function of Ligeti's orchestration. If all the instruments (or voices) are marked/>/», it is inevitab ...
Ancient Greek Music: A Technical History by Stefan Hagel
... made, context indicates that melodies can move from one of these ‘ranges’ or τόνοι to another. Such movement will count as the kind of μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘mod ...
... made, context indicates that melodies can move from one of these ‘ranges’ or τόνοι to another. Such movement will count as the kind of μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘mod ...
General Principles of Harmony by Alan Belkin
... For example, some of the assumptions behind current ideas of pitch structure need to be reexamined. Recent psycho-acoustical research, as well as practical experience, lead to the conclusion that some of these notions are conventions with only limited usefulness, focussing on connections that are of ...
... For example, some of the assumptions behind current ideas of pitch structure need to be reexamined. Recent psycho-acoustical research, as well as practical experience, lead to the conclusion that some of these notions are conventions with only limited usefulness, focussing on connections that are of ...
Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
Complex Chords Table of Content
... Four note chords are build the same way as triads, but they contain one more (major or minor) third, and therefore there are twice as much possible combinations as for triads. Not all these possible combinations are really useful in practice; in fact, some chords that do not consist exclusively of i ...
... Four note chords are build the same way as triads, but they contain one more (major or minor) third, and therefore there are twice as much possible combinations as for triads. Not all these possible combinations are really useful in practice; in fact, some chords that do not consist exclusively of i ...
Yet Another 72-Noter - Masters Program in Digital Musics
... while to come. So I worked up my own notation, which used fewer symbols in combination with the familiar accidentals. I have since come on other systems, none of which seems to escape those same drawbacks, so I have kept to my own. First came the quarter-tone. Since its increment is the square root ...
... while to come. So I worked up my own notation, which used fewer symbols in combination with the familiar accidentals. I have since come on other systems, none of which seems to escape those same drawbacks, so I have kept to my own. First came the quarter-tone. Since its increment is the square root ...
Linear Chromatic Flyer - James Jones Instruments
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
Hybrid Thinking in Meloharmony
... preferences and by no means able to provide a broad basis for microtonal thinking as a whole. I consider the development of an encyclopedic approach to systems of thought to be out of date in ...
... preferences and by no means able to provide a broad basis for microtonal thinking as a whole. I consider the development of an encyclopedic approach to systems of thought to be out of date in ...
"Tonal Organization in Schoenberg`s Six Little Piano Pieces, Op. 19"
... of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an extension of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op. 19. In 1911, when they were written, ...
... of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an extension of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op. 19. In 1911, when they were written, ...
Other Chords of the Major Key
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
On Tonal Dynamics and Musical Meaning - Signata
... give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones, counting the basic tone. Some sort of second, third, fourth, ith, sixth, and seven ...
... give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones, counting the basic tone. Some sort of second, third, fourth, ith, sixth, and seven ...
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 ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... Ives spells out two chords that fit the given criteria, which are shown in Figure 2a. Chord I is a segment of four consecutive notes of the 7-cycle, though Ives does not describe the chord as such. The spelling that he gives begins the 7-cycle upwards starting from C. He describes chord II as "a cho ...
... Ives spells out two chords that fit the given criteria, which are shown in Figure 2a. Chord I is a segment of four consecutive notes of the 7-cycle, though Ives does not describe the chord as such. The spelling that he gives begins the 7-cycle upwards starting from C. He describes chord II as "a cho ...
A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... the mountains even in a somewhat mystical manner, à la Karłowicz; for example, to him, it is not out of the question that his love for them is associated with ‘the quite basic fact that mountains rise up high, and that physically, a person feels closer to the absolute, closer to God.’ 4 This reflect ...
... the mountains even in a somewhat mystical manner, à la Karłowicz; for example, to him, it is not out of the question that his love for them is associated with ‘the quite basic fact that mountains rise up high, and that physically, a person feels closer to the absolute, closer to God.’ 4 This reflect ...
Pitch
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
Music Theory Combination Tones
... in many cases the perceived additional tones were quarter tones out from equal tempered pitches, but at this stage they were simply notated as what I subjectively interpreted as the closer equal tempered tone. ( I did this work at the piano) Secondly, using cycles per second values corresponding to ...
... in many cases the perceived additional tones were quarter tones out from equal tempered pitches, but at this stage they were simply notated as what I subjectively interpreted as the closer equal tempered tone. ( I did this work at the piano) Secondly, using cycles per second values corresponding to ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... Chords which are next to one another in scale degree ranking; thus, their notes are separated by a step or half step ...
... Chords which are next to one another in scale degree ranking; thus, their notes are separated by a step or half step ...
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.