I've always had a problem with some of the songs that are used to remember what an interval sounds like. Particularly, the ones whose melodies don't start on the tonic. For example, Here Comes The ...
I'm reading the following paper, Lerdahl, F. (1988). Tonal pitch space. Music Perception, 315-349. I'm interested in comparing what is written here with other equivalent theories. Some of these ...
I'm attempting to program a library that lets one make use of concepts from Peter Westergaard's tonal theory. The current problem I'm trying to solve is to determine the specific name of an interval ...
I was wondering if I could get a second opinion on methods for constructing a musical motive. I have been creating melodies for quite some time, mainly without taking harmonic progression into ...
I've heard time and time again of composers who say "It is better [for beginners] to know your form, and have a general idea of important chord progressions before you begin thinking seriously about ...
I know these kinds of question are asked a thousand different ways in every forum, but I've read many of them and they seem to be lacking in certain respects, so I'll cross my fingers and hope for the ...
According to Glenn Gould (minute 28:20), Orlando Gibbons represents the end of modality, the beginning of tonality Can anyone deepen the meaning of this? Could you please point to a specific ...