New answers tagged theory
0
The oft-quoted 20Hz-20Khz range does not mean that people can perceive pitches in the range 20Hz-20KHz range but not 19Hz nor 20.1KHz. Rather, there is a range of frequencies people can perceive as pitches, with people's ability to perceive things as pitches falling off near the ends of that range. Beyond that, there is a range of frequencies which people ...
1
My original response was put in a comment, but as the question has now been reopened, I'll post the answer here:
The passage in question does not imply a I6/4 chord. It outlines a V chord. The "B" on beat two is an upper-neighboring tone and the "G" on beat three is a passing tone - what could be seen as a 4-3 suspension.
Also, an analysis of I6/4 is ...
2
Yes.
Strictly speaking the counterpoint must begin on either the fifth, octave, or unison - the last being the least common.
If the counterpoint is below the cantus firmus then it must begin with the octave or unison. It cannot start with the fifth degree of the scale because when a perfect-fifth is inverted, it becomes a fourth, which Fux and others ...
2
Chris - you have many questions in a row, so I thought it easier to submit an answer rather than post several comments. To moderators, I apologize if this is cluttersome.
Here we go:
1.) You are correct, you did not in fact make that statement - I did not realize that you were quoting Cuthbert. I will expand upon this answer momentarily.
2.) The ...
1
Some simple guidelines:
Generally:
Playing tones of the current chord on the down beats will make you sound "in" (the harmony). On the up beats you may use any tones; in or out of the scale or harmony.
Specifically:
Ending your phrase on a chord tone of the current chord, especially ending on a chord tone on a (possibly temporary) tonic chord, will make ...
1
To try to avoid too much theory, start and finish your run of notes on those being played in the chord at that time. Watch the rhythm player, and use one of his notes played as a springboard for your phrase, and do the same for your last note. Bear in mind he may or may not be on the same chord that you both started on. Obviously, using the pentatonic notes ...
1
In the older hexachordal system, mi refers to a note below a half step (like E below F or B below C) and fa refers to a note above a half step (like F or C in a white note system). So by changing F (which is a Fa) to F# he is temporarily making it a Mi. Think of Mi as like a leading tone with a tendency to move upwards. Fa had a tendency to move down, ...
7
You should focus on chord tones and half-step resolutions.
Let's assume the key of C.
The 7th chords in this key:
Cmaj7: C E G B
Dmin7: D F A C
Emin7: E G B D
Fmaj7: F A C E
G7: G B D F
Amin7: A C E G
Bmin7b5: B D F A
Let's use a classic jazz example, the iimin7 | V7 | Imaj7.
In C, this would be Dmin7 | G7 | Cmaj7.
To ...
1
Semi-longish answer
Under most normal circumstances, resolve from the dominant to the tonic. This known as an authentic cadence (V to I). This is the most common and sounds the most complete.
There are other types of cadences, such as the phyrgian cadence (iv6 to V) and the interrupted cadence (V to anything besides I, usually ii, vi, or VI). These aren't ...
0
First and last chords usually designate the key of a piece - start from home, end back at home after the journey. This way even a non-musical listener will feel a proper trip out and back.
Songs in a key will use the same chords whether they are in maj. or relative min. BUT often the min. will use a major fifth in order to return to the root. Thus - in ...
1
Modern modal music has 7 modes built from the major scale.. You can have a composition in all but the last one since the 1st 3rd and 5th notes of this mode will result in a diminished triad which is unstable.Modes are also built on the melodic and harmonic minor scales. Fewer compositions are seen using the major modes and all modes in jazz are used to ...
0
If you played 2 notes that sound the most harmonious you'd choose notes that are octaves apart. These have a frequency ratio of 2:1 (or 4:1 or 8:1 etc.) but this doesn't get you very far in deriving a scale so the next "most pleasant" musical interval is when the notes are in the frequency ratio 3:2 - this will yield a G from a C. Most answers above have ...
4
Hopefully these examples of 5/4:4/4 polymeter and 5:4 polyrhythm clears it up.
Polymeter
Here is a simple example of 5/4 over 4/4 polymeter notated in 4/4 time. Notice how voice A's meter is five beats (the accents illustrates the starts), while voice B's meter is four beats, and they are sort of modulating over each other. After 20 beats their accented ...
1
Polyrhythms are multi-rhythms as in a bar of ,say, 8 quavers played against 12 quaver triplets (in the same bar).They don't necessarily fit properly,but they are playable.So, the bar length stays the same, but the divisions in it are varied simultaneously against another rhythm pattern in the same bar. ...
0
Polyrhythm and polymeter demonstrate the outer limits of written music. In truth if I play a seven note repeating phrase over a four note phrase at the same speed they will synchronise every 28 notes. I can notate this within one bar or I can fit one phrase in a bar and have the other run over the bar lines. It should sound the same either way. Music ...
2
The bVII or dominant bVII7 chord often comes from the mixolydian mode. Many bluegrass and rock and roll songs are written in the mixolydian and not in the major mode (or ionian mode, or major key, or major scale).
In the key of C, the mixolydian scale is
C D E F G A Bb C.
So the chord is built on the note Bb in this mode.
Since there is only one note ...
2
So, the chord sequence is maybe Cmaj / Bbmaj / Fmaj. The Bb is subdominant of the (subdominant of C) Fmaj. It's sort of reverse ii - V - I that jazzers are renowned to use.As actually many, many songs utilise. The Bb chord , in a way, is related to the key of C in a 'first- removed' manner.You're right in that the resolution is in 2 plagal cadences, so it ...
2
Polymeter : different voices/instruments that play different meters that desynchronize themselfs (a 9/8 piano part against a 4/4 drum part, or 7/8 on a 3/4
Polyrythms : different subdivisions that fit in the same bar.
The classic Christmas tune "Carol of the bells" is an example of 2 against 3.
Traditional cuban rumba, and lots of west African drum rhythms ...
Top 50 recent answers are included
