A Corpus-Based Model of Voice Leading in Tonal Music
|
|
- Oswin Fowler
- 5 years ago
- Views:
Transcription
1 A Corpus-ased Model of oice Leading in Tonal Music Robert T. Kelley igure : igured ass xercise Table : Renaming Harrison s Scale-Degree unctions New unction Name Tonic Member(s) Subdominant Dominant Other Names oundation () ˆ ˆ ˆ ase (Harrison), Trigger (Quinn) Active Tone () ˆ ˆ ˆ Agent (Harrison), Trigger (Quinn) Primary Stabilizer () ˆ ˆ ˆ2 Associate (Harrison and Quinn) Secondary Stabilizer () ˆ ˆ2 ˆ Associate (Quinn) Chordal Dissonance () ˆ ˆ ˆ, ˆ unctional Dissonance (Quinn) Non-Chord Tone () ˆ2, ˆ ˆ, ˆ ˆ, (ˆ) Non-unctional Diss. (Quinn) Table 2: An xcerpt from the Data Set, Showing the Hymn Tune Americus, by Charles H. Gabriel #americus.mid T; T; S; T; T; T; S; T; T; D; T; S; T; D; T; D2; D2; D; T; D; S; D; D; T; D; T; T; S; T; S; S2; T; D; T; T; D; D; T; T; S; T; S; S2; T; T; T; S; D; D2; T; T; T; S; T; T; T; S; T; T; D; T; S; T; D; T; D; D; D2; T; D2; S; D; D; T; D2; T; T; S; T; S; S; T; D; T; T; D; D2; T; T; S; T; S; S; T; T; T; S; D; D; T; T; T; S; T; T; T; S; T; T; D; T; S; T; D; T; D; D; D; T; D; S; D; D; T; D; T; T; S; T; S; S; T; D; T; T; D2; D; T; T; S; T; S; S; T; T; T; S; D; D; T; T; T; S; T; T; T; S; T; T; D2; T; S; T; D2; T; D; D; D; T; D2; S2; D; D; T; D2; T; T; S; T; S; S; T; D2; T; T; D; D; T; T; S2; T; S; S; T; T; T; S; D; D; T; % % 2 Dˆ % Tˆ % Sˆ Dˆ % % Sˆ2 Tˆ % % % % 2 Tˆ % Dˆ Sˆ % % % % % Tˆ 0% Dˆ % Sˆ % 2 Tˆ 2 Sˆ Dˆ Dˆ % Sˆ Tˆ % Sˆ % % 2 % igure 2: Hidden Markov Model of Scale-Degree unctions
2 Tˆ Tˆ Tˆ Tˆ Tˆ Tˆ Tˆ Tˆ % % 8 Dˆ 8 Dˆ Dˆ Dˆ % Dˆ % % Dˆ Sˆ 0% Tˆ 90% 2% Tˆ % % % % Sˆ2 % Sˆ 2 % % Sˆ Sˆ Sˆ Sˆ 2 Dˆ Dˆ Dˆ % % 2 2 Dˆ Dˆ % Tˆ % % % % Tˆ % % 2 % Dˆ 9% Sˆ % % % % 0% % % % % % Sˆ2 Sˆ 8 % Sˆ Sˆ Sˆ Sˆ % 80% (a) Authentic Progression Scale-Degree Tendencies (b) Plagal Progression Scale-Degree Tendencies Dˆ % % 0% % % % % % % % Dˆ % % % Dˆ % % % % % Dˆ % Dˆ % % % Dˆ % % Tˆ Tˆ Tˆ Tˆ Tˆ Tˆ % 2 Sˆ % 2 % % % % 2 % Sˆ2 % % Sˆ % 0% Sˆ % % % % Sˆ % % Sˆ % Sˆ % % % % (c) Scale-Degree Tendencies with No Change of Harmonic unction igure : Resolution Tendencies of All Scale-Degree unctions in All Harmonic Contexts 2
3 (a) Harrison s igures.2.: Agent Discharges T T, S S, D D T S, S D, D T T D, D S, S T Step Ant.=CT, T=Down by rd, Others=Step ree Down by Step CT ree Step: M, M R, L S, T D nfl. or S CT Step or Dim. rd in Direction of nflection ree Step CT ree CT Step ree ree ree Table : Active Tone Resolution Tendencies (b) Chart of Active Tone Resolutions ˆ TONC ˆ ˆ ˆ ˆ T S discharge ˆ ˆ2 T D discharge ˆ ˆ S T, S D discharge ˆ ˆ D S, D T discharge ˆ2 DOMNANT ˆ Plag Auth ˆ Plag Auth Auth ˆ Plag ˆ ˆ SUDOMNANT igure 2: Chart of Active Tone Resolutions Table : oice-leading The S Choral Procedures Texture When completing part-writing exercises, the student will work under the assumption that their No unction Change Authentic Progression (AP) Plagal Progression (PP) T T, S S, D D T S, S D, D T T D, D S, S T music should be easily performable by a four-voice mixed choir (S). When completing more practical projects, such as composing or arranging for a jazz ensemble, symphonic band, piano, or string quartet, some of the constraints of S choral writing can be relaxed. The principles of DN=rd, Others=Step Ant.=CT, T=Down by rd, Others=Step singable lines, proper voice leading, and restricting the range of each voice, however, will still assure that music for any type of ensemble will be easily performable and will sound natural to the listener. ree Down by Step CT Table provides the constraints to which the students should adhere in their choral writing. ree Step: M, M R, L S, T D Doubling nfl.,, or CT Step or Dim. rd in Direction of nflection Ordinarily, only triads will require doubling of one of the chord members. When the fifth must be left out of a chord for voice-leading reasons, however, then a chord member must be doubled in ree Step CT seventh chords. f the fifth must be left out of a triad, then more than one chord member may be ree CT, Down by rd or th, or Up by th Step doubled or a single chord member tripled. Table gives a procedure for determining which note to double in a chord, and which notes never to double. ree ree ree Table : Doubling Procedures. f a primary or secondary stabilizer is in the bass voice, double it. 2. f not, then if the foundation note is in the chord, double it.. f not, then double the bass note.. oice leading may overrule the doubling indicated by the first three rules.. Never double dominant active tones, chordal dissonances, or inflections other than modal mixture. Table : Part-Writing Priorities. Top Priorities 2. mportant Considerations. Do Whenever Possible,,, nfl. &S Resolutions Law of the Shortest Way Resolutions in nner oices Doubling Procedure Avoiding Consecutive Ps Doubling Procedures Avoiding Consecutive Ps & P8s ncluding the th in Triads ncluding the th in th Chords Range, Spacing, Avoiding Crossing Avoiding oice Overlaps Resolutions in Passing Chords
4 M: T M: T A/ [] [] [] [] S [Tped] /D C m / T S /G m /A / S T Dp2 [] [] [] [] T / 8 Dcad T D D A/ [] [] [] S [Tped] T [] T T /A 2 M: Dp Dp2 [] [] / Dp2 [] [] [] [] C m /G vi Tp [D] [] [] [] [] /G T / Dp2 sus / /G A [] [] / D/ S S T A [] Sn o /A T [] [] /G / T Dp2 A/ [] [] [] [] [] [] [] [] S [Tped] /G A T S T / D/ [T] / Dcad igure : Harmonic Analysis of Americus with Scale-Degree unction Analysis D D A S T M: T [] [] [] D/ [T] [] S2 D/i [D2] [] [] [] [] T D/ S D/ [S] [] [] [] [] [] [] [] [] D D/vi [D] Tx S D igure : Two-Layer Analysis Technique for Applied Dominants D T unctional Part Writing Manual
5 References Aarden, ret, and Paul T. von Hippel Rules for Chord Doubling (and Spacing): Which Ones Do We Need? Music Theory Online, vol. 0/2. < hippel frames.html>. urstein, L. Poundie, and Joseph N. Straus. 20. Concise ntroduction to Tonal Harmony. W. W. Norton. Harrison, Daniel G. 99. Harmonic unction in Chromatic Music: A Renewed Dualist Theory and an Account of ts Precedents. University of Chicago Press. Kostka, Stefan, and Dorothy Payne. 98. Tonal Harmony, with an ntroduction to Twentieth- Century Music. th ed., 20. New York: A. A. Knopf. Motte, Diether de la. 9. The Study of Harmony: A Historical Perspective. Translated by J. L. Prater. Dubuque, owa: W. rown, 99. Quinn, an Harmonic unction Without Primary Triads. Paper delivered at the Twenty- ighth Annual Meeting of the Society for Music Theory in oston, November 200. Quinn, an, and Panayotis Mavromatis. 20. oice-leading Prototypes and Harmonic unction in Two Chorale Corpora. dited by Carlos Agon, Moreno Andreatta, Gérard Assayag, mmanuel Amiot, Jean resson, and John Mandereau, Mathematics and Computation in Music: Third nternational Conference, MCM 20, Paris, rance, June, 20. Proceedings. Springer erlin Heidelberg. Quinn, an, and Christopher White. 20. xpanding Notions of Harmonic unction Through a Corpus Analysis of the ach Chorales. Paper delivered at the Annual Meeting of the Society for Music Theory A Corpus-ased Model of Harmonic unction in Popular Music. Paper delivered at the Annual Meeting of the Society for Music Theory. Shaffer, Kris, and Robin Wharton, eds. 20. Open Music Theory. Hybrid Pedagogy Publishing. <
Part Writing Explained by Harmonic Function Robert T. Kelley
Part Writing Explained by Harmonic unction Robert T. Kelley If you want to gain confidence in your understanding of tonal music, here is a way to look at tonal harmony that is simpler and more powerful
More informationA Mathematical Model Of Tonal Function. Abstract
A Mathematical Model Of Tonal Function Robert T. Kelley Lander University Abstract I propose a mathematical model that formalizes the derivation of recent
More informationGRADUATE/ transfer THEORY PLACEMENT EXAM guide. Texas woman s university
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide Texas woman s university 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This guide is meant to help graduate and transfer students prepare for
More informationMajor topics of study include the following, in both written in aural form (where applicable):
Music Theory Syllabus (AP/non-AP) Red Hook High School Brian Zeller, Instructor Course Overview AP Music Theory is a rigorous one-credit theory and ear-training course designed to be equivalent to a first-year
More informationNUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT: One
I. COURSE DESCRIPTION Division: Humanities Department: Speech and Performing Arts Course ID: MUS 201 Course Title: Music Theory III: Basic Harmony Units: 3 Lecture: 3 Hours Laboratory: None Prerequisite:
More informationAP Music Theory Syllabus
AP Music Theory Syllabus Course Overview This course is designed to provide primary instruction for students in Music Theory as well as develop strong fundamentals of understanding of music equivalent
More informationCourse Objectives The objectives for this course have been adapted and expanded from the 2010 AP Music Theory Course Description from:
Course Overview AP Music Theory is rigorous course that expands upon the skills learned in the Music Theory Fundamentals course. The ultimate goal of the AP Music Theory course is to develop a student
More informationNUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT: One
I. COURSE DESCRIPTION Division: Humanities Department: Speech and Performing Arts Course ID: MUS 202 Course Title: Music Theory IV: Harmony Units: 3 Lecture: 3 Hours Laboratory: None Prerequisite: Music
More informationAdvanced Placement (AP) Music Theory
Advanced Placement (AP) Music Theory 2018-2019 Burlington High School 1st Period, Room #160 Mr. Sean Buchsbaum sbuchsbaum@bpsk12.org, Office: (781) 273-7669 I. Course Overview Advanced Placement (AP) courses
More informationHow Figured Bass Works
Music 1533 Introduction to Figured Bass Dr. Matthew C. Saunders www.martiandances.com Figured bass is a technique developed in conjunction with the practice of basso continuo at the end of the Renaissance
More informationCourse Syllabus Phone: (770)
Alexander High School Teacher: Andy Daniel AP Music Theory E-mail: andy.daniel@douglas.k12.ga.us Course Syllabus 2017-2018 Phone: (770) 651-6152 Course Overview/Objectives: This course is designed to develop
More informationMUS100: Introduction to Music Theory. Hamilton High School
MUS100: Introduction to Music Theory Hamilton High School 2016-2017 Instructor: Julie Trent Email: Trent.Julie@cusd80.com Website: http://mychandlerschools.org/domain/8212 Office: H124A (classroom: H124)
More informationCourse Overview. At the end of the course, students should be able to:
AP MUSIC THEORY COURSE SYLLABUS Mr. Mixon, Instructor wmixon@bcbe.org 1 Course Overview AP Music Theory will cover the content of a college freshman theory course. It includes written and aural music theory
More informationAP Music Theory Curriculum
AP Music Theory Curriculum Course Overview: The AP Theory Class is a continuation of the Fundamentals of Music Theory course and will be offered on a bi-yearly basis. Student s interested in enrolling
More informationAP Music Theory
AP Music Theory 2016-2017 Course Overview: The AP Music Theory course corresponds to two semesters of a typical introductory college music theory course that covers topics such as musicianship, theory,
More informationA.P. Music Theory Class Expectations and Syllabus Pd. 1; Days 1-6 Room 630 Mr. Showalter
Course Description: A.P. Music Theory Class Expectations and Syllabus Pd. 1; Days 1-6 Room 630 Mr. Showalter This course is designed to give you a deep understanding of all compositional aspects of vocal
More informationPLACEMENT ASSESSMENTS MUSIC DIVISION
PLACEMENT ASSESSMENTS MUSIC DIVISION August 31- September 2, 2015 Students must be present for all days of testing in preparation for registration, which is held September 2-4. Placement Assessments are
More informationAP Music Theory at the Career Center Chris Garmon, Instructor
Some people say music theory is like dissecting a frog: you learn a lot, but you kill the frog. I like to think of it more like exploratory surgery Text: Tonal Harmony, 6 th Ed. Kostka and Payne (provided)
More informationAP Music Theory COURSE OBJECTIVES STUDENT EXPECTATIONS TEXTBOOKS AND OTHER MATERIALS
AP Music Theory on- campus section COURSE OBJECTIVES The ultimate goal of this AP Music Theory course is to develop each student
More informationStudent Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
More informationStudent Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationCadences. There are four different types of harmonic cadences: perfect (or authentic) imperfect (or half), plagal and interrupted (or deceptive).
Cadences Cadences generally represent a pause in rhythmic, melodic or harmonic movement. They often combine a momentary standstill of rhythmic motion ith the use of common to-chord patterns to finish a
More informationExample 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):
Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered
More informationChopin, Prelude in C minor, Op. 28 and Scriabin, Prelude in C, op. 31, no. 4
Frank Martignetti Graduate Theory and Analysis 16-MTHC-802-003 Professor Cahn March 8, 2001 Chopin, Prelude in C minor, Op. 28 and Scriabin, Prelude in C, op. 31, no. 4 When analyzing the harmony of a
More informationPartimenti Pedagogy at the European American Musical Alliance, Derek Remeš
Partimenti Pedagogy at the European American Musical Alliance, 2009-2010 Derek Remeš The following document summarizes the method of teaching partimenti (basses et chants donnés) at the European American
More informationAlma High School AP Music Theory Syllabus
Alma High School AP Music Theory Syllabus Mr. Kent Myers-Instructor (479) 632-2128 kmyers@almasd.net Primary Text Theory: Clendinning, Jane Piper, and Elizabeth West Marvin. 2005 The Musician's Guide to
More informationUnit 5b: Bach chorale (technical study)
Unit 5b: Bach chorale (technical study) The technical study has several possible topics but all students at King Ed s take the Bach chorale option - this unit supports other learning the best and is an
More informationAP MUSIC THEORY. Course Syllabus
AP MUSIC THEORY Course Syllabus Course Resources and Texts Kostka and Payne. 2004. Tonal Harmony with and Introduction to Twentieth Century Music, 5 th ed. New York: McGraw Hill. Benjamin, Horvit, and
More informationAP Music Theory Syllabus Music Theory I Syllabus Cypress Lake Center for the Arts Gary Stroh, instructor School Year
AP Music Theory Syllabus Music Theory I Syllabus Cypress Lake Center for the Arts Gary Stroh, instructor 2015-2016 School Year Course Overview AP Music Theory is a course designed to develop student skills
More informationMUSIC 2107 Summary of SATB Part-Writing Guidelines Dr. C. Ross
MUSIC 2107 Summary of SATB Part-Writing Guidelines Dr. C. Ross The many guidelines concerning SATB part-writing can be overwhelming. The best way to learn them is to come to terms with a few at a time,
More informationPLANE TESSELATION WITH MUSICAL-SCALE TILES AND BIDIMENSIONAL AUTOMATIC COMPOSITION
PLANE TESSELATION WITH MUSICAL-SCALE TILES AND BIDIMENSIONAL AUTOMATIC COMPOSITION ABSTRACT We present a method for arranging the notes of certain musical scales (pentatonic, heptatonic, Blues Minor and
More informationThe following are Guidelines good places to start when working through a part-writing exercise.
The following are Guidelines good places to start when working through a part-writing exercise. I V I Generally double the root of root-position triads. The 3 rd or 5 th can also be doubled. DO NOT double
More informationMUS305: AP Music Theory. Hamilton High School
MUS305: AP Music Theory Hamilton High School 2016-2017 Instructor: Julie Trent Email: Trent.Julie@cusd80.com Website: http://mychandlerschools.org/domain/8212 Office: H124A (classroom: H124) Course description:
More informationAP MUSIC THEORY STUDY GUIDE Max Kirkpatrick 5/10/08
AP MUSIC THEORY STUDY GUIDE Max Kirkpatrick 5/10/08 FORM- ways in which composition is shaped Cadence- a harmonic goal, specifically the chords used at the goal Cadential extension- delay of cadence by
More informationStudent Performance Q&A:
Student Performance Q&A: 2008 AP Music Theory Free-Response Questions The following comments on the 2008 free-response questions for AP Music Theory were written by the Chief Reader, Ken Stephenson of
More informationAP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 7. Scoring Guideline.
2018 AP Music Theory Sample Student Responses and Scoring Commentary Inside: Free Response Question 7 RR Scoring Guideline RR Student Samples RR Scoring Commentary College Board, Advanced Placement Program,
More informationTABLE OF CONTENTS CHAPTER 1 PREREQUISITES FOR WRITING AN ARRANGEMENT... 1
TABLE OF CONTENTS CHAPTER 1 PREREQUISITES FOR WRITING AN ARRANGEMENT... 1 1.1 Basic Concepts... 1 1.1.1 Density... 1 1.1.2 Harmonic Definition... 2 1.2 Planning... 2 1.2.1 Drafting a Plan... 2 1.2.2 Choosing
More informationCelebrate Theory. Level 8 Worksheets
Celebrate Theory Level 8 Worksheets Contents Chords and Harmony... Pg. 3 Form and Analysis... Pg. 11 Intervals... Pg. 14 Keys and Scales... Pg. 20 Melody Writing and Composition... Pg. 23 Pitch and Notation...
More informationMusic Theory Review I, Summer 2010 (MUSI 6397 sec 25173) Professor: Andrew Davis ( )
Page 1 of 14 Music Theory Review I, Summer 2010 (MUSI 6397 sec 25173) Professor: Andrew Davis (email) copy of the course syllabus (in case of conflict this copy supersedes the one I handed out in class)
More informationVirginia Commonwealth University MHIS 146 Outline Notes. Open and Closed Positions of Triads Never more than an octave between the upper three voices
Virginia Commonwealth University MHIS 146 Outline Notes Unit 1 Review Harmony: Diatonic Triads and Seventh Chords Root Position and Inversions Chapter 11: Voicing and Doublings Open and Closed Positions
More informationTheory II (MUSI 1311) Professor: Andrew Davis ( )
Page 1 of 10 Theory II (MUSI 1311) Professor: Andrew Davis (email) Home page and syllabus Daily schedule Daily schedule Shortcut to the current week (assuming I remember to keep the link updated). Microsoft
More informationMusic Theory AP Course Syllabus
Music Theory AP Course Syllabus All students must complete the self-guided workbook Music Reading and Theory Skills: A Sequential Method for Practice and Mastery prior to entering the course. This allows
More informationUnit 1 - September Unit 2 - October Unit 3 Nov. / Dec.
Teacher Name: Height COURSE TITLE/GRADE: Music Theory I 10-12 DEPARTMENT/SUBJECT: Performing Arts / Band Board Approval Date: August 28, 2012 Essential Questions Unit 1 - September Unit 2 - October Unit
More informationAP/MUSIC THEORY Syllabus
AP/MUSIC THEORY Syllabus 2017-2018 Course Overview AP Music Theory meets 8 th period every day, thru the entire school year. This course is designed to prepare students for the annual AP Music Theory exam.
More informationMUSC 201: Tonal Harmony
MUSC 201: Tonal Harmony Instructor: Andrew Chung (ajchung@wesleyan.edu) Individual meetings BY APPOINTMENT Tues/Thurs 8:50-10:10AM, Music Studios Rm. 301 Course Goals Tonal harmony is all around us. It
More informationKing Edward VI College, Stourbridge Starting Points in Composition and Analysis
King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:
More informationAP Music Theory Syllabus
AP Music Theory Syllabus Instructor: T h a o P h a m Class period: 8 E-Mail: tpham1@houstonisd.org Instructor s Office Hours: M/W 1:50-3:20; T/Th 12:15-1:45 Tutorial: M/W 3:30-4:30 COURSE DESCRIPTION:
More informationUnit 1 - September Unit 2 - October Unit 3 Nov. / Dec.
Teacher Name: Height COURSE TITLE/GRADE: Music Theory I 10-12 Questions DEPARTMENT/SUBJECT: Performing Arts / Band Unit 1 - September Unit 2 - October Unit 3 Nov. / Dec. What is a scale? How many notes
More informationCPU Bach: An Automatic Chorale Harmonization System
CPU Bach: An Automatic Chorale Harmonization System Matt Hanlon mhanlon@fas Tim Ledlie ledlie@fas January 15, 2002 Abstract We present an automated system for the harmonization of fourpart chorales in
More informationJoint AMS/SMT Annual Meeting Vancouver, British Columbia November 6, 2016
Joint AMS/SMT Annual Meeting Vancouver, British Columbia November 6, 2016 Plagal Systems in the Songs of Fauré and Duparc Andrew Pau, Oberlin Conservatory of Music Andrew.Pau@oberlin.edu EXAMPLES EXAMPLE
More informationAP Music Theory. Scoring Guidelines
2018 AP Music Theory Scoring Guidelines College Board, Advanced Placement Program, AP, AP Central, and the acorn logo are registered trademarks of the College Board. AP Central is the official online home
More informationUnit 1 - September Unit 2 - October Unit 3 Nov. / Dec.
Teacher Name: Height COURSE TITLE/GRADE: Music Theory II 10-12 DEPARTMENT/SUBJECT: Performing Arts / Band Board Approval Date: August 28, 2012 Essential Questions Unit 1 - September Unit 2 - October Unit
More information! "! An Introduction to Figured Bass by Derek Remes The tradition of using figured bass exercises, or partimenti, to teach harmony goes back to 16 th
An Introduction to Figured Bass by Derek Remes The tradition of using figured bass exercises, or partimenti, to teach harmony goes back to 16 th century Italy. Organists in the 16 th century often accompanied
More informationAP Music Theory Syllabus
AP Music Theory Syllabus Course Overview AP Music Theory is designed for the music student who has an interest in advanced knowledge of music theory, increased sight-singing ability, ear training composition.
More informationBar 2: a cadential progression outlining Chords V-I-V (the last two forming an imperfect cadence).
Adding an accompaniment to your composition This worksheet is designed as a follow-up to How to make your composition more rhythmically interesting, in which you will have experimented with developing
More informationLesson RRR: Dominant Preparation. Introduction:
Lesson RRR: Dominant Preparation Introduction: Composers tend to put considerable emphasis on harmonies leading to the dominant, and to apply noteworthy creativity in shaping and modifying those harmonies
More informationFigure 1. D Indy s dualist chord construction and superposition of thirds ([1902] 1912, 101).
Beyond the Rhine: Harmonic Dualism in Vincent d Indy s Cours de composition musicale (1902) Eastman Theory Colloquium 7 December 2018 Stephanie Venturino (Eastman School of Music, University of Rochester)
More informationMurrieta Valley Unified School District High School Course Outline February 2006
Murrieta Valley Unified School District High School Course Outline February 2006 Department: Course Title: Visual and Performing Arts Advanced Placement Music Theory Course Number: 7007 Grade Level: 9-12
More informationTheory Bowl. Round 3: Harmony, Voice Leading and Analysis
Theory Bowl Round 3: Harmony, Voice Leading and Analysis 1) Which of the following answers would be an example of the Mixolydian mode? 6) Which Roman numeral analysis below correctly identifies the progression
More informationDEPARTMENT OF FINE ARTS COURSE OUTLINE FALL 2015 MU2550 A2 MUSIC THEORY III MW 10:00-11:20AM, L228
DEPARTMENT OF FINE ARTS COURSE OUTLINE FALL 2015 MU2550 A2 MUSIC THEORY III MW 10:00-11:20AM, L228 INSTRUCTOR: Mathew Walton OFFICE: L117 PHONE: 780-539-2837 (email preferred) E-MAIL: mwalton@gprc.ab.ca
More informationMusic Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
More informationUvA-DARE (Digital Academic Repository) Clustering and classification of music using interval categories Honingh, A.K.; Bod, L.W.M.
UvA-DARE (Digital Academic Repository) Clustering and classification of music using interval categories Honingh, A.K.; Bod, L.W.M. Published in: Mathematics and Computation in Music DOI:.07/978-3-642-21590-2_
More informationUnit 1 - September Unit 2 - October Unit 3 Nov. / Dec.
Teacher Name: Height COURSE TITLE/GRADE: Music Theory II 10-12 DEPARTMENT/SUBJECT: Performing Arts / Band Questions Unit 1 - September Unit 2 - October Unit 3 Nov. / Dec. What is a scale? How many notes
More informationGRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
More informationMUSIC (MUS) Music (MUS) 1
Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal
More informationStudy Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
More informationAP MUSIC THEORY 2016 SCORING GUIDELINES
2016 SCORING GUIDELINES Question 7 0---9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add the phrase scores together to arrive at a preliminary tally for
More informationAP MUSIC THEORY 2011 SCORING GUIDELINES
2011 SCORING GUIDELINES Question 7 SCORING: 9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add these phrase scores together to arrive at a preliminary
More informationZGMTH. Zeitschrift der Gesellschaft für Musiktheorie
ZGMTH Zeitschrift der Gesellschaft für Musiktheorie Stefan Eckert»Sten Ingelf, Learn from the Masters: Classical Harmony, Hjärup (Sweden): Sting Music 2010«ZGMTH 10/1 (2013) Hildesheim u. a.: Olms S. 211
More informationStudent Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationMUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
More informationAP Music Theory Policies and Procedures
7/20/18 To 2018-19 Mountain View H.S. A.P. Music Theory Students and Parents: Welcome back from your summer break! I hope you ve enjoyed your time away working, playing, and spending time with your families.
More informationOnline Music Theory. Basic Harmony Class. Spring/Summer Sutton Drive Burlington, ON L7L 7N2. Web:
Online Music Theory Basic Harmony Class Spring/Summer 2015 2397 Sutton Drive Burlington, ON L7L 7N2 Web: www.ashbyme.com Email: scott@ashbyme.com Ph: 905-963-1268 Cell: 905-630-2179 Revised 3/17/15 Online
More informationBIBLIOGRAPHY APPENDIX...
Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Pitch and rhythm... 1 CHAPTER 2... 10 Time signatures and grouping... 10 CHAPTER 3... 22 Keys... 22 CHAPTER... 31 Scales... 31 CHAPTER 5...
More informationAcknowledgements... ii Preface... iii CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 6...
Contents Acknowledgements... ii Preface... iii CHAPTER 1... 1 Theory of music... 1 CHAPTER 2... 27 Harmony... 27 CHAPTER 3... 52 Non-chordal notes and ornaments... 52 CHAPTER 4... 68 Secondary dominants
More informationChapter 8 'Triads in First Inversion'
hapter 8 'Triads in First Inversion' o Learning Ojectives. y the end of hapter 8, students ill e ale to: > Understand the use of first inversion triads as a means of activating melodic motion in the ass
More informationAdvanced Placement Music Theory Course Syllabus Joli Brooks, Jacksonville High School,
Joli Brooks, Jacksonville High School, joli.brooks@onslow.k12.nc.us Primary Text Spencer, Peter. 2012. The Practice of Harmony, 6 th ed. Upper Saddle River, NJ: Prentice Hall Course Overview AP Music Theory
More informationChorale Completion Cribsheet
Fingerprint One (3-2 - 1) Chorale Completion Cribsheet Fingerprint Two (2-2 - 1) You should be able to fit a passing seventh with 3-2-1. If you cannot do so you have made a mistake (most commonly doubling)
More informationTheory of Music. Clefs and Notes. Major and Minor scales. A# Db C D E F G A B. Treble Clef. Bass Clef
Theory of Music Clefs and Notes Treble Clef Bass Clef Major and Minor scales Smallest interval between two notes is a semitone. Two semitones make a tone. C# D# F# G# A# Db Eb Gb Ab Bb C D E F G A B Major
More informationTheory Placement Exam 1
Theory Placement Exam 1 Full Name: This exam begins with melodic and harmonic dictation, and then covers some basic music theory, analysis, and writing skills. I. Melodic Dictation You will hear an excerpt
More informationAP MUSIC THEORY 2013 SCORING GUIDELINES
2013 SCORING GUIDELINES Question 7 SCORING: 9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add these phrase scores together to arrive at a preliminary
More informationFundamental Topics: Vocabulary will be tested in each unit.
AP Music Theory Mrs. Lynn Brewer lynnbrewer@tomballisd.net 2016-2017: Syllabus Course Overview Each week we explore the world of music theory using four methods writing, reading, singing and listening.
More informationCalifornia Subject Examinations for Teachers
California Subject Examinations for Teachers TEST GUIDE MUSIC SUBTEST I Sample Questions and Responses and Scoring Information Copyright 2015 Pearson Education, Inc. or its affiliate(s). All rights reserved.
More informationTHE HARMONIC IMPLICATIONS OF THE NON-HARMONIC TONES IN THE FOUR-PART CHORALES OF JOHANN SEBASTIAN BACH by Timothy Judson Willingham Liberty University
THE HARMONIC IMPLICATIONS OF THE NON-HARMONIC TONES IN THE FOUR-PART CHORALES OF JOHANN SEBASTIAN BACH by Timothy Judson Willingham Liberty University A Dissertation Presented in Partial Fulfillment Of
More informationStudent Performance Q&A:
Student Performance Q&A: 2004 AP Music Theory Free-Response Questions The following comments on the 2004 free-response questions for AP Music Theory were written by the Chief Reader, Jo Anne F. Caputo
More informationNJCCCS AREA: North Brunswick Township Public Schools. AP Music Theory. Acknowledgements: Written by: James Egan, Band Director
NJCCCS AREA: North Brunswick Township Public Schools AP Music Theory Acknowledgements: Written by: James Egan, Band Director Peggy Sica, Supervisor Fine Arts and Performing Arts Date: August 30 2008 Board
More informationAP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 5. Scoring Guideline.
2017 AP Music Theory Sample Student Responses and Scoring Commentary Inside: RR Free Response Question 5 RR Scoring Guideline RR Student Samples RR Scoring Commentary 2017 The College Board. College Board,
More informationT Y H G E D I. Music Informatics. Alan Smaill. Feb Alan Smaill Music Informatics Feb /1
O Y Music nformatics Alan maill eb 15 2018 Alan maill Music nformatics eb 15 2018 1/1 oday Y ule based systems ule-based Counterpoint ystems ule-based systems for 4-part harmonisation Alan maill Music
More informationLESSON ONE. New Terms. sopra above
LESSON ONE sempre senza NewTerms always without sopra above Scales 1. Write each scale using whole notes. Hint: Remember that half steps are located between scale degrees 3 4 and 7 8. Gb Major Cb Major
More informationDiatonic Harmony with Roman Numeral Analysis
Diatonic Harmony with Roman Numeral Analysis Handout #3 Music 214 Harmony within the key When we use the musical term diatonic, we mean the notes being used all come from the key. n that way the terms
More informationFUNDAMENTAL HARMONY. Piano Writing Guidelines 0:50 3:00
FUNDAMENTAL HARMONY Dr. Declan Plummer Lesson 12: Piano Textures There are several important differences between writing for piano and writing for vocal/choral/satb music: SATB range rules no longer apply.
More informationAP Music Theory 2013 Scoring Guidelines
AP Music Theory 2013 Scoring Guidelines The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the
More informationAP Music Theory Course Planner
AP Music Theory Course Planner This course planner is approximate, subject to schedule changes for a myriad of reasons. The course meets every day, on a six day cycle, for 52 minutes. Written skills notes:
More informationAP Music Theory: Syllabus 1
AP Music Theory: Syllabus 1 Scoring Components SC1 SC2 The course enables students to master the rudiments and terminology of music: notational skills, scales, keys, intervals, chords, meter, and rhythm.
More informationA MUSICAL ANALYSIS OF MUTANTES BALADA DO LOUCO
A MUSICAL ANALYSIS OF MUTANTES BALADA DO LOUCO Juliana Altoé de Oliveira Universidade de São Paulo j.altoe@uol.com.br ABSTRACT The aim of this study is to propose a formal, harmonic and voice-leading analysis
More informationPART-WRITING CHECKLIST
PART-WRITING CHECKLIST Cadences 1. is the final V(7)-I cadence a Perfect Authentic Cadence (PAC)? 2. in deceptive cadences, are there no parallel octaves or fifths? Chord Construction 1. does the chord
More informationHST 725 Music Perception & Cognition Assignment #1 =================================================================
HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani HST 725 Music Perception & Cognition Assignment #1 =================================================================
More informationMusic Theory III and IV Prince George's Community College
Music Theory III and IV Prince George's Community College Fall 2014 / Spring 2015 notes from Contrapuntal Harmonic Technique of the 18 th Century by Allen Irvine McHose Copyright 1947 Out of print 1985
More informationAt the end of the nine weeks, we will take the combination of the grades of each section to form your Quarter Grade.
Welcome to AP Music Theory! The goal of this course is to improve musicianship through a workable knowledge of Music Theory. The concepts covered are very similar to a freshman music theory class at the
More informationCHAPTER ONE TWO-PART COUNTERPOINT IN FIRST SPECIES (1:1)
HANDBOOK OF TONAL COUNTERPOINT G. HEUSSENSTAMM Page 1 CHAPTER ONE TWO-PART COUNTERPOINT IN FIRST SPECIES (1:1) What is counterpoint? Counterpoint is the art of combining melodies; each part has its own
More information