Composition ideas for different styles
... and backing vocals. Use a 4/4 time signature, simple melodic ideas and a repeating chord sequence based mainly on I IV and V. Include some or all of the following in your chorus: a bass line riff, strummed guitar chords, a vocal hook, drum fills, some nonsense words such as 'na na', and singalong ec ...
... and backing vocals. Use a 4/4 time signature, simple melodic ideas and a repeating chord sequence based mainly on I IV and V. Include some or all of the following in your chorus: a bass line riff, strummed guitar chords, a vocal hook, drum fills, some nonsense words such as 'na na', and singalong ec ...
"Three Beats for Beatbox Flute" by Greg Patillo In 2011, the National
... recording, this makes sense as dissonance can be heard; without the spectrogram it is difficult to describe the dissonance because the score indicates an octave between the sung and played notes. Between the first and second tone, the change in fingering creates a different pitch as indicated by arr ...
... recording, this makes sense as dissonance can be heard; without the spectrogram it is difficult to describe the dissonance because the score indicates an octave between the sung and played notes. Between the first and second tone, the change in fingering creates a different pitch as indicated by arr ...
File - sdc music resources
... Comment on how the piano part contrasts with most of the other instrumental parts in this section of the music: The piano has a descending arpeggio figure based on short note values compared to long sustained notes in other instruments. ...
... Comment on how the piano part contrasts with most of the other instrumental parts in this section of the music: The piano has a descending arpeggio figure based on short note values compared to long sustained notes in other instruments. ...
Medieval Music (early music)
... the ancient greek style using symbols. The symbols were known as neumes and related to the pitches of a melody only, not the rhythmic elements of the song. Other musical notation, such as rhythm didn't begin until the 12th or 13th centuries. During this period only non-secular music was written and ...
... the ancient greek style using symbols. The symbols were known as neumes and related to the pitches of a melody only, not the rhythmic elements of the song. Other musical notation, such as rhythm didn't begin until the 12th or 13th centuries. During this period only non-secular music was written and ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
View printable PDF of 6.3 Analyzing Diatonic Modes
... 1. Repetition: Doubling the note, repeating it, or using it as a pedal point or in a repeating pattern. 2. Position in the passage: Making the note the first and/or last note of the passage or movement. 3. Dynamic emphasis: Using a louder dynamic or accent marks. 4. Range emphasis: Making the note t ...
... 1. Repetition: Doubling the note, repeating it, or using it as a pedal point or in a repeating pattern. 2. Position in the passage: Making the note the first and/or last note of the passage or movement. 3. Dynamic emphasis: Using a louder dynamic or accent marks. 4. Range emphasis: Making the note t ...
musicianship project - 2011
... last 46 measure is where it starts to get soft, or piano. Almost all the notes are played in intervals and most of them are major or perfect. 7. In measure 80 in the first grand staff the soprano and alto voices are perfect 5th. The tenor and bass voices are also perfect 5th intervals and they are t ...
... last 46 measure is where it starts to get soft, or piano. Almost all the notes are played in intervals and most of them are major or perfect. 7. In measure 80 in the first grand staff the soprano and alto voices are perfect 5th. The tenor and bass voices are also perfect 5th intervals and they are t ...
Basic Music Theory - Jessamine County Schools
... • The higher the note is on the staff, the higher the pitch. • The Lower the note is on the staff, the lower the pitch ...
... • The higher the note is on the staff, the higher the pitch. • The Lower the note is on the staff, the lower the pitch ...
spontaneous composition
... Yes, his students learn how to read music and the rudiments of theory, and are gradually introduced to the musical masters. But they don't start their musical training the traditional way, through scales or finger exercises. "I don't go down that road," says Schwendener. Instead, aiming to broaden t ...
... Yes, his students learn how to read music and the rudiments of theory, and are gradually introduced to the musical masters. But they don't start their musical training the traditional way, through scales or finger exercises. "I don't go down that road," says Schwendener. Instead, aiming to broaden t ...
Program Notes – Beethoven Symphony No. 7
... sonata form whirs along in the background. Opening theme of the Symphony The final movement brings more of the same. The galloping rhythm of the first movement returns, but with its sharp edges rounded off slightly to accommodate the duple time signature. Again rhythm dominates the movement, while t ...
... sonata form whirs along in the background. Opening theme of the Symphony The final movement brings more of the same. The galloping rhythm of the first movement returns, but with its sharp edges rounded off slightly to accommodate the duple time signature. Again rhythm dominates the movement, while t ...
JAZZ - Sites
... JAZZ West African Elements • Polyrhythms-multiple rhythms going on at the same time • Syncopated-weak beats are accented • Call and Response-leader sings a phrase (call) and another performer or group of musicians answers (response). • Tonal Quality-type of sounds produced by the singer ...
... JAZZ West African Elements • Polyrhythms-multiple rhythms going on at the same time • Syncopated-weak beats are accented • Call and Response-leader sings a phrase (call) and another performer or group of musicians answers (response). • Tonal Quality-type of sounds produced by the singer ...
Music as the art of misleading
... This search for musical amphibologies by composers is also present in many other cultures: consider, for instance, the position of Sam or the Kaida rules in the Hindustani music. Indeed, this principle can be found in any type of music that requires a cognitive apperception3. Unlike to semantic lan ...
... This search for musical amphibologies by composers is also present in many other cultures: consider, for instance, the position of Sam or the Kaida rules in the Hindustani music. Indeed, this principle can be found in any type of music that requires a cognitive apperception3. Unlike to semantic lan ...
Music Theory 101_B - APAC (demo
... voice lies between the C one octave below middle C, and the A above middle C. The music part is often the top line of the bass clef. Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Music for this voice is typically written in th ...
... voice lies between the C one octave below middle C, and the A above middle C. The music part is often the top line of the bass clef. Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Music for this voice is typically written in th ...
Music Theory 101
... voice lies between the C one octave below middle C, and the A above middle C. The music part is often the top line of the bass clef. Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Music for this voice is typically written in th ...
... voice lies between the C one octave below middle C, and the A above middle C. The music part is often the top line of the bass clef. Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Music for this voice is typically written in th ...
• Melody = a succession of pitches at specific durations that begins
... a 'piece' = a musical composition which is played on instruments. ...
... a 'piece' = a musical composition which is played on instruments. ...
Basic Music Theory
... the proper sharps or flats. Traveling around the circle of 5ths (below) you notice we add sharp every 5th. The scales E through B are easy to comprehend with this pattern, memorize the rest of them by studying the scale charts below. A key signature is derived from applying this pattern to different ...
... the proper sharps or flats. Traveling around the circle of 5ths (below) you notice we add sharp every 5th. The scales E through B are easy to comprehend with this pattern, memorize the rest of them by studying the scale charts below. A key signature is derived from applying this pattern to different ...
1 - Julianne Baird
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
1 - Julianne Baird
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
your name - Julianne Baird
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
... 34. Modulation refers to a .the central tone of a musical composition b. the use of all keys in one octave c. the sharp or flat signs immediately at the beginning of the staff of a composition d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used on ...
MU 139 Power Point - Montgomery College
... A major scale is made of seven notes (plus the octave) in alphabetical order. The notes are all a whole step apart except: – Between 3&4, 7&8 which are half steps ...
... A major scale is made of seven notes (plus the octave) in alphabetical order. The notes are all a whole step apart except: – Between 3&4, 7&8 which are half steps ...
Trimbat by Ida Bagus Made Widnyana
... gamelan. The opening ascending line introduces each of the saih cenik tones, followed by slow melodies on the saih madya and saih gede instruments. In this way the listener is allowed to slowly become acquainted with the very complex tuning, intervallic and acoustic beating relationships between eac ...
... gamelan. The opening ascending line introduces each of the saih cenik tones, followed by slow melodies on the saih madya and saih gede instruments. In this way the listener is allowed to slowly become acquainted with the very complex tuning, intervallic and acoustic beating relationships between eac ...
notes and scales
... To represent the different pitches of sound that you can make when you play music, you have to write notes. Also, related to pitches and notes there are the different kinds of frequencies that would be represented by the sound waves. To write notes, you need the staff lines and there you can show th ...
... To represent the different pitches of sound that you can make when you play music, you have to write notes. Also, related to pitches and notes there are the different kinds of frequencies that would be represented by the sound waves. To write notes, you need the staff lines and there you can show th ...
Music Vocabulary Accelerando – gradually increase the tempo
... Andantino – Faster than Andante, but not a fast as Moderato Articulation – Type of attack used to play a note or group of notes Bar Line – Divides the music staff into measures Breath Mark – take a breath Cantabile – in a singing style Chord – Two or more pitches sounded at the same time Chrom ...
... Andantino – Faster than Andante, but not a fast as Moderato Articulation – Type of attack used to play a note or group of notes Bar Line – Divides the music staff into measures Breath Mark – take a breath Cantabile – in a singing style Chord – Two or more pitches sounded at the same time Chrom ...
Stage 1: Desired Results Stage 2 : Assessment Evidence Stage 3
... Compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect Arrange simple pieces for acoustic or electronic instruments Use computer and electronic te ...
... Compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect Arrange simple pieces for acoustic or electronic instruments Use computer and electronic te ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.