Understanding Temperaments
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
View printable PDF of 6.3 Analyzing Diatonic Modes
... analyzing diatonic modes, find the answer using a relative OR parallel approach (NOT both!): Relative approach: 3 sharps = A major. E is the fifth scale step in A major, so this is mixolydian. OR Parallel approach: This scale is E major with the seventh step lowered (D natural), so it is mixolydian. ...
... analyzing diatonic modes, find the answer using a relative OR parallel approach (NOT both!): Relative approach: 3 sharps = A major. E is the fifth scale step in A major, so this is mixolydian. OR Parallel approach: This scale is E major with the seventh step lowered (D natural), so it is mixolydian. ...
Introduction to Pitch Class Set Analysis
... Prime Form - A set is reduced to its prime form to allow comparison with other sets. If sets were compared in their original form, comparison would be problematic at best. This is the set's BNO represented by numbers. These numbers represent the distance in half-steps above the lowest note in the BN ...
... Prime Form - A set is reduced to its prime form to allow comparison with other sets. If sets were compared in their original form, comparison would be problematic at best. This is the set's BNO represented by numbers. These numbers represent the distance in half-steps above the lowest note in the BN ...
AP-Music-Theory-Study-Guide
... • Arpeggio, arpeggiation- notes that outline a chord • Consonance- pleasing to the ear, major and more 3rds and 6ths and perfect 5ths and 8ves • Dissonant- unpleasant to the ear, all other intervals, except P4, which is only dissonant in bass • Diatonic- chords that contain only notes found in the s ...
... • Arpeggio, arpeggiation- notes that outline a chord • Consonance- pleasing to the ear, major and more 3rds and 6ths and perfect 5ths and 8ves • Dissonant- unpleasant to the ear, all other intervals, except P4, which is only dissonant in bass • Diatonic- chords that contain only notes found in the s ...
AP Music Theory
... Scale – series of eight pitches using eight consecutive letter names extending from a given pitch to its octave, ascending or descending. Consists of whole steps and half steps – it is the location of the half steps within the scale that determines the type of scale (major, minor, Dorian, Mixolydian ...
... Scale – series of eight pitches using eight consecutive letter names extending from a given pitch to its octave, ascending or descending. Consists of whole steps and half steps – it is the location of the half steps within the scale that determines the type of scale (major, minor, Dorian, Mixolydian ...
File - Melissa Hayes
... Solfege is commonly used in singing to help with the pitches of notes. You will notice that low C and high C are both called “do”. This is because they are the same note. It is acceptable to think of high C as either scale degree 8 or scale degree 1. The first note of a scale is called the tonic. Al ...
... Solfege is commonly used in singing to help with the pitches of notes. You will notice that low C and high C are both called “do”. This is because they are the same note. It is acceptable to think of high C as either scale degree 8 or scale degree 1. The first note of a scale is called the tonic. Al ...
A Mathematica Notebook about Ancient Greek Music and Mathematics
... It is likely that even the preference for well-tempered scales that can be empirically verified in modern musicians who play instruments with no predetermined tuning (violins and trombones) could be ascribed to a many-generations conditioning. Nonetheless our capacity of enjoying not welltempered mu ...
... It is likely that even the preference for well-tempered scales that can be empirically verified in modern musicians who play instruments with no predetermined tuning (violins and trombones) could be ascribed to a many-generations conditioning. Nonetheless our capacity of enjoying not welltempered mu ...
a mathematica notebook about ancient greek music and mathematics
... We can not give here elements of mathematical music theory. The interested reader can find many good basic books on the subject. Among those specifically concerned with ancient music we can recommend (Burkert, 1972, Sachs, 1943, 1962, van der Waerden, 1963, West, 1992). The notes were played in the ...
... We can not give here elements of mathematical music theory. The interested reader can find many good basic books on the subject. Among those specifically concerned with ancient music we can recommend (Burkert, 1972, Sachs, 1943, 1962, van der Waerden, 1963, West, 1992). The notes were played in the ...
Music - Manchester HEP
... ‘Concert’ or ‘musical’ pitch defines the note A as 440 Hz. though historically it has varied from 370 to 567 Hz.‘Scientific pitch’ defines the note (middle) C as 256 Hz. 2. Notes in harmony Pythagoras found that strings divided in simple ratios gave pleasing sounds. This is probably a basic feature ...
... ‘Concert’ or ‘musical’ pitch defines the note A as 440 Hz. though historically it has varied from 370 to 567 Hz.‘Scientific pitch’ defines the note (middle) C as 256 Hz. 2. Notes in harmony Pythagoras found that strings divided in simple ratios gave pleasing sounds. This is probably a basic feature ...
Intervals 4
... study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop your proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 ...
... study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop your proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 ...
Text on music
... Pythagoras. Until recently, only consonant intervals were used to produce “pleasing” music. In modern and contemporary music, dissonant intervals are more widely used than before. Dissonant intervals create a sharp contrast with the rest of the music, just like darker colors in painting create a con ...
... Pythagoras. Until recently, only consonant intervals were used to produce “pleasing” music. In modern and contemporary music, dissonant intervals are more widely used than before. Dissonant intervals create a sharp contrast with the rest of the music, just like darker colors in painting create a con ...
6th Grade Choir NAME__________________________ Quarter 1
... 3. Barline = those vertical lines that go through the staff to separate them into measures. ...
... 3. Barline = those vertical lines that go through the staff to separate them into measures. ...
The Mathematics of Musical Instruments
... willow flute with the end closed. Sethares’ fascinating book [25] proposes that Western music uses scales based on small integer ratios of frequencies precisely because the sound of winds and strings consists of harmonics. When two such instruments play notes from the same scale, many of the harmoni ...
... willow flute with the end closed. Sethares’ fascinating book [25] proposes that Western music uses scales based on small integer ratios of frequencies precisely because the sound of winds and strings consists of harmonics. When two such instruments play notes from the same scale, many of the harmoni ...
Music, Cognition, and Computerized Sound: Chap14
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
Harmonic Progression - LearnMusicTheory.net
... Composers often led into the V-I progression with a series of downward fifth (or upward fourth) root motions. This pattern is called a circle-offifths sequence (see 2.2 The Circle of Fifths). A sequence is a progression based on a repeating pattern, such as downward fifths. ...
... Composers often led into the V-I progression with a series of downward fifth (or upward fourth) root motions. This pattern is called a circle-offifths sequence (see 2.2 The Circle of Fifths). A sequence is a progression based on a repeating pattern, such as downward fifths. ...
Full CD Booklet
... the main harmonic unit of the Etude, which also makes melodic use of the division of an octave into five equal parts. 19 notes: This tuning contains diatonic scales in which the major second spans three chromatic degrees, and the minor second two. Triads are smooth, but the scale sounds slightly out ...
... the main harmonic unit of the Etude, which also makes melodic use of the division of an octave into five equal parts. 19 notes: This tuning contains diatonic scales in which the major second spans three chromatic degrees, and the minor second two. Triads are smooth, but the scale sounds slightly out ...
A PRACTICAL GLOSSARY for Twentieth
... row form — a specific member of a row class. segmentation — generally, the way in which music is divided into smaller units. In twelve-tone music, this is sometimes understood as a technique in which the row is divided into fragments (which are often treated in a motivic fashion). This practice is c ...
... row form — a specific member of a row class. segmentation — generally, the way in which music is divided into smaller units. In twelve-tone music, this is sometimes understood as a technique in which the row is divided into fragments (which are often treated in a motivic fashion). This practice is c ...
PPT
... An example from the pitch representation in MIDI and its alternative spelling It’s polyphonic No prior knowledge such as Key signature Tonal centers Time signature Voice separation ...
... An example from the pitch representation in MIDI and its alternative spelling It’s polyphonic No prior knowledge such as Key signature Tonal centers Time signature Voice separation ...
Week 3 Pitch Class
... Scales: differ from pitch class in that they are ordered Chromatic Scale: made up entirely of half steps Start on given pitch If no key signature, use sharps ascending and flats descending ...
... Scales: differ from pitch class in that they are ordered Chromatic Scale: made up entirely of half steps Start on given pitch If no key signature, use sharps ascending and flats descending ...
Orchestra Final Exam Study Sheet
... Tenuto- dash under or above a note indicating the note should be played long Tie- curved line connecting two or more notes that are the same Time Signature- numbers indicating number of beats per measure/kind of note that gets the beat Tremelo- rapid unmeasured movement of the bow for effect (3 slas ...
... Tenuto- dash under or above a note indicating the note should be played long Tie- curved line connecting two or more notes that are the same Time Signature- numbers indicating number of beats per measure/kind of note that gets the beat Tremelo- rapid unmeasured movement of the bow for effect (3 slas ...
6/26/06 Introduction We all have a mental/aural image of “music
... vibrating string of the monochord sounds at full wavelength, a tone is produced. This sound is the fundamental. When the wavelength is progressively divided into 2, 3, etc., new tones are produced. Each new tone has a specific mathematical relationship (proportion) to the fundamental. The proportion ...
... vibrating string of the monochord sounds at full wavelength, a tone is produced. This sound is the fundamental. When the wavelength is progressively divided into 2, 3, etc., new tones are produced. Each new tone has a specific mathematical relationship (proportion) to the fundamental. The proportion ...
Set Theory - ClarkRoss.ca
... (i) Identify a melodic or harmonic cell in a composition, such as: ...
... (i) Identify a melodic or harmonic cell in a composition, such as: ...
the division of the monochord according
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
Just intonation
In music, just intonation (sometimes abbreviated as JI) or pure intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a pure or just interval. The two notes in any just interval are members of the same harmonic series. Frequency ratios involving large integers such as 1024:927 are not generally said to be justly tuned. ""Just intonation is the tuning system of the later ancient Greek modes as codified by Ptolemy; it was the aesthetic ideal of the Renaissance theorists; and it is the tuning practice of a great many musical cultures worldwide, both ancient and modern.""Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch (e.g., piano or organ) and default MIDI tuning on electronic keyboards. In equal temperament, all intervals are defined as multiples of the same basic interval, or more precisely, the intervals are ratios which are integer powers of the smallest step ratio, so two notes separated by the same number of steps always have exactly the same frequency ratio. However, except for doubling of frequencies (one or more octaves), no other intervals are exact ratios of small integers. Each just interval differs a different amount from its analogous, equally tempered interval.Justly tuned intervals can be written as either ratios, with a colon (for example, 3:2), or as fractions, with a solidus (3 ⁄ 2). For example, two tones, one at 300 Hertz (cycles per second), and the other at 200 hertz are both multiples of 100 Hz and as such members of the harmonic series built on 100 Hz. Thus 3/2, known as a perfect fifth, may be defined as the musical interval (the ratio) between the second and third harmonics of any fundamental pitch.