DOCSLIB.ORG

Tagg: Everyday Tonality — Index 319

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Tagg: Everyday Tonality — Index 319 Index Abba 32, 88, 112, 143, 144, 178, Allan, Lily 176, 177 Autumn Leaves, see Feuilles mortes 182, 206, 218, 235, 238, 257 Alleluia 77 avant‐garde 214 Abbey Road 214, 225 Already Gone 218 Ave Maria chord 112, 279 Abilene 248, 250 Am I Blue 72 Ave verum corpus 112 abolitionists 261, 262 ambient music 83 Axel F 65, 71 absolute pitch 30 Amen 103, 210, 229, 245, 262 Aya‐Zehn 70 AC/DC 236 Amorosa guajira 230 accentuation 65 Amos, Tori 184 B accidentals 98, 270, 271, 279 anacrusis 18, 195, 211, 212, 221‐ Ba‐Benzélé 272, 306 accompaniment 224, 279 Baby It’s You 185 9, 57, 95, 265–269 anaphora 70, 71, 72, 279 Baby, Now That I’ve Found You accordion 40, 43, 165 And I Love Her 214 144, 224 acoustic 6 Andean 9, 50, 230, 243–245, 273 Bach, J.S. 3, 29, 106, 112, 156, 249, discrepancies 38 Angel Baby 206 279 placement 266 anger 255, 256 Bacharach, Burt 142, 143, 181 Adams, William 241 anhemitonic pentatonic 40, 48, Bachelor Boy 189, 191 added chords 0 CHORD 49, 50, 55, 120, 126, 133, 279 Bachman Turner Overdrive 225 Addinsell, R 142 Animals 239 backing 9, 265 Adeste Fideles 110 Anka, Paul 206 vocals 87, 95, 257 aeolian 8, 39, 46, 47, 52, 53, 55, Another Girl Another Planet 241, Badalmenti, Angelo 84, 185, 186 64, 99, 101, 115, 116, 117, 118, 259 Baez, Joan 258 121, 122, 138, 185, 186, 187, 191, El antechispa 231 bagpipes 82, 83, 130, 132, 266 195, 213, 214, 227, 234, 237, 239, anthemic 241, 259, 260, 262 balalaika 42 241, 276, 279, 291 Antioch 36 Bali 273 cadence 108, 125, 192, 228, antiphony 9, 83 Balkans 38, 54, 55, 83, 122, 123 233 anti‐Vietnam war mvt. 213 La Bamba 1, 116, 121, 198, 200, descending melodic minor 47 Any Colour You Like 181 212, 215, 217, 218, 222–226, directionality 227 Apache 178, 179 230, 233, 280 harmony 117, 125, 227–234 Apel, W 90 Band Aid 262 loops 227–234 aperiodic sounds 22, 27 Band, The 225, 235, 257, 258, 263 shuttle 186–189, 227 Apollo‐Soyuz 128 bandola 245 affirmation 261, 262 Appalachia 40, 195 banjo 83, 41, 134 Africa 9, 38, 50, 56, 89 appoggiature 68 Banks of Newfoundland 69 African American 55, 78, 252, 263 Arab/Arabic 38, 42, 48, 54, 55, 64, Bar Kays 225 After Midnight 235 68, 84 Bare, Bobby 165 agogic 66, 273 music theory 39 Barn av vår tid 187 Ain’t No Mountain 144 The Archies 177, 178 Baroque 106, 204 Air (suite in D, Bach) 112, 249 Argentina 230 barré 118 Akst, Harry 72 Arlen, Howard 203 in ionian mode 116–117 Alabama Song 141, 142 Armenia 42 Barry, John 142 alap 77 A‐Roving 66 Bartók, Béla 109, 123, 128, 135 Albion Country Band 120, 130, arpeggiation 83, 164, 165 Basarwa 272 189, 197 Arrested Development 177, 178 bass 41, 87, 132, 211, 253 Alexiou, Haris 121, 122 arrogations 229 line 32, 89, 90, 100, 114, 133, Alfvén, Hugo 83 Artists United Against Apart‐ 212, 248, 254, 257 alienation 55, 256 heid 263 scalar motion 114, 248, 249 All Along The Watchtower Ashley, Clarence 134 slap 273 121, 185, 187 Ashley, Monty 201 bawling 256 All My Loving 214 At Last 203 bayati 39 All Saints 184 At The Hop 206 BBC 237 All The Things You Are 106 Atacama 231 World News jingle 180 All This Time 178 ‘atonal’ music 23 Be My Baby 206 All Together Now 259, 260 attack (timbre) 26, 28 Beach Boys 144, 235 All You Fascists Are Bound To Aturov, T 70 Beatles 3, 12, 36, 62, 63, 78, 106, Lose 247 augmented 0 CHORD, INTERVAL 123, 140, 141, 142, 143, 144, 178, alla breve 65, 194 Australia 83 207, 208, 209, 213, 214, 217, 218, 320 Tagg: Everyday Tonality — Index 225, 227, 228, 258, 259, 260, 263 Book Of Love 206 Cain, Jeffrey 187 audience in Hamburg 213 Booker T and the MGs 121, 138, Calchakis, Los 230, 244 harmony 213–215 168, 235 Cale, J.J. 235 Beautiful South 218 Bootie Call 184 Calendar Girl 185 bebop 0 JAZZ Borodin, A.P. 127 Caliche 231 Because (Beatles) 143 bossa nova 142 California (Flash & the Pan) 187 Beethoven, L van 83, 160, 174, Bothy Band 189 call and response 90, 269 175, 182, 184 bottleneck 0 GUITAR Camino 233 Being For The Benefit Of Mr Kite Boulez, Pierre 23 Can I Get A Witness 167 141 Bound For The Rio Grande 66 Can’t Get You Out Of My Head bel canto 65 bouzouki 41, 42 184 Belfast Child 128 Bowie, David 185, 186, 187, 235, Can’t Buy Me Love 62, 214 Bell‐Bottom Blues 248, 257 238 Candy Store Rock 235 Bénech, F L 165 The Boys of Wexford 69 Canned Heat 235 Benton, Brook 189 Bradby, Barbara 241, 252 canons 89 Bernstein, Elmer 128 Brassens, G 75 capo 246 Bernstein, Leonard 128 Brazil 230 capstan shanty 66 Berry, Chuck 159, 160, 163–164, mixolydian 124 Cara, Irene 108, 185 173, 207, 209 Breathe (Pink Floyd) 180 carefree 218, 219 Bertolucci, B 88 breathing 58 Carissimi, G 69 Bertrand, Simon 15 bridge (middle 8) 202 Carmichael, H 74 El beso discreto 230 Brill Building 212 Carnaval salteño 231 Beverly Hills Cop 65 British Isles 38, 50, 55, 56, 195, carnavalito 231 Bhairavi 54 214, 224, 239 Carnes, Kim 187 big bands 204, 210 melismatic singing 77 Carpenter, John 109, 128 Big Ben Banjo Band 143 melodic formulae 68 The Carpetbaggers 128 Big Country 218, 300 Broadway shows 204 carrousel loop 165, 166 bïlinï 77 Brooks, Mel 125 The Cascades 206 Billboard 206, 212 Brother, Can You Spare A Dime 63 Cathédrale engloutie 109, 128 Billy Boy 66 brotherhood 259 celebratory 217 Billy The Kid 128 Brown Sugar 108, 121 cello 26 bimodal[ity] 0 MODE Brown, James 273 ‘Celtic mood’ 83 Bitches Brew 129 Brown, Nacio Herb 176 The Chain Gang 185 bitonal 157 Brubeck, Dave 163 The Champions 74 bitter‐sweet 144 Bron‐yr‐Aur Stomp 235 The Champs 163, 189, 194 Björnberg, Alf 55, 125, 187, 251 Buckingham Palace 225, 227 Chan Chan 230 black gospel 78 bucolic 83 Chandler, Gene 206 The Blacksmith 239 Buddhists 234 Change Your Mind 185, 187 Blazing Saddles 125 Bulgaria 176 chanson 165 Blood Sweat & Tears 168 Burke, Solomon 237 chanting 60 Blowing in the Wind 75 El burrito 231 charango 41, 245 Blue Danube 110, 141 The Byrds 184 charity stringalong 263 Blue Moon 106, 203, 206 Charles, Ray 122, 200, 201 bluegrass 38 C Charleston departure 236 blues 38, 49, 50, 55, 61, 120, 121, C’mon Everybody 211, 212, 217‐8 The Charleston 106, 236, 248, 249, 159, 163, 167, 168, 200 Cade’s County 124 250 pentatonic 50, 118‐120 cadence 102–104, 182 Che Guevara 231, 232 rock 236, 245 aeolian 108, 125, 192, 228, chord loop 231, 280 smudge (piano) 163 233 Checker, Chubby 206 turnaround 170–171 cowboy half 124, 281 cheerful 219 twelve‐bar 6, 159, 207, 210, finality marker 223 Chernoff, J M 272 212, 213 half 102, 122, 124, 183, 234 Chester, Andrew 5, 98, 162 vamp v. rock 209–215 ‘imperfect’ 102, 234 Chianis, S 85 Blues Brothers 237 interrupted 103–104, 234 The Chiffons 178, 179 Bo Diddley 160, 162 melodic 67–70, 75 Chile 230, 232 Bobbies, all those goddam 204 ‘perfect’ 4, 47, 96, 101, 102, solidarity 231, 244 body mvt and melody 66–67 103, 119, 210, 217, 234 Chinese 64 bolero 230 plagal 38, 102, 103, 219, 234 Chopin 141, 185, 187 Bonny Labouring Boy 69 problem terms 103–104 chorales 77 boogie‐woogie 210 uninterrupted 104, 227, 228 Tagg: Everyday Tonality — Index 321 chord[s] 7, 82, 137–158 seven flat five 142 supertonic 176–177 accompaniment 87 sevenths 148, 152, 204 varying frequency of 175 added chords 149, 155 chain of 106, 107 v. loop 251 sixth 141 shorthand 145–158 Chordettes, The 206 ninth 143 shorthand chart 148–149 choro 230 altered fifths 154 > SUSPENSION chromatic altered minor‐mode tonic or symbols 139‐141, 148–149 alteration 113 fifth 118‐120 > TERTIAL chromaticisation 109 augmented triad 138, 141 tetrad 94, 95 chromaticism 41, 113 > CHORD LOOP ♣ thirteenth 114, 143, 148, 153 definition 50 > CHORD SHUTTLE triads 95, 117–125, 137, 138, descending 256 common triad 92, 95, 99, 103, 139‐141, 148, 275‐276 scale 34 137 tritone substitution 113, 202 ‘church’ mode 6, 50–53, 117, 281 definition 92, 137 turnaround 211, 212, 221 Cielito Lindo 111 diminished 54, 50, 109, 152 chord loop 1, 5, 8, 9, 10, 14, 35, circle of fifths 4, 7, 97, 98–109, 201, diminished 7th 135, 143 36, 108, 116, 166, 189, 198, 204, 210, 217, 219, 225, 245, 251 diminished triad 115, 138 199–240, 280, 281 anticlockwise FLATWARDS > ‘DOMINANT’ aeolian 227–234 clockwise SHARPWARDS ‘double dominant’ 110 La Bamba 116, 121, 200, 212, flatwards (anticlockwise) 4, dyad, triad, tetrad 137 215, 217, 218, 220, 222, 223, 97, 99, 101, 102, 103, easy ones on guitar 247 233, 234 105–107, 114, 125, 126, 201, eleventh 114, 135, 143, 148, Che Guevara 231 204, 210, 217, 249, 219, 220, 153, 163, 166 circularity of 199–202 226, 237, 245, 283 half diminished 142 dorian (rock) 235, 236–237; key‐specific VIRTUAL incoming 211, 212, 220, 221, MEDIANTAL modulatory REAL 239, 284 durations of 207, 208 progressions 105–109 interchangeable ii & IV 205 ionian 116–117, 201‐213, 217‐ real circle of fifths progres‐ inversions 110, 112, 133, 134, 226 sion 105, 106, 113 140–141, 144, 155, 156, 248, mediantal 235–240 sharp side 251, 288 257 mixolydian 108, 221‐226 sharpwards (clockwise) 97, 99, lead sheet chords 145–158 not a shuttle 251 101, 102, 104, 108, 110, 114, 125, major nine 143 single‐caesura 208 126, 127, 210, 219, 221, 225, 226, major seven 142 part of groove 215 227, 237, 245, 288 major triads 97, 138 plagal 217‐223 virtual circle‐of‐fifths pro‐ in minor mode 118–120 rock dorian 235, 236–237 gression 105, 106, 107, 113 medial 211, 212, 220, 221, vamp 201–209 circular motion (loops) 199‐202 239, 284 chord shuttle 5, 8, 10, 173–198, civil rights (USA) 213, 252, 254 minor add nine 144 207, 220, 231, 281 Clapton, Eric 144, 235, 238, 248, minor major nine 142 1‐ vs.
Recommended publications
  • 4. Non-Heptatonic Modes

    4. Non-Heptatonic Modes

    Tagg: Everyday Tonality II — 4. Non‐heptatonic modes 151 4. Non‐heptatonic modes If modes containing seven different scale degrees are heptatonic, eight‐note modes are octatonic, six‐note modes hexatonic, those with five pentatonic, while four‐ and three‐note modes are tetratonic and tritonic. Now, even though the most popular pentatonic modes are sometimes called ‘gapped’ because they contain two scale steps larger than those of the ‘church’ modes of Chapter 3 —doh ré mi sol la and la doh ré mi sol, for example— they are no more incomplete FFBk04Modes2.fm. 2014-09-14,13:57 or empty than the octatonic start to example 70 can be considered cluttered or crowded.1 Ex. 70. Vigneault/Rochon (1973): Je chante pour (octatonic opening phrase) The point is that the most widespread convention for numbering scale degrees (in Europe, the Arab world, India, Java, China, etc.) is, as we’ve seen, heptatonic. So, when expressions like ‘thirdless hexatonic’ occur in this chapter it does not imply that the mode is in any sense deficient: it’s just a matter of using a quasi‐global con‐ vention to designate a particular trait of the mode. Tritonic and tetratonic Tritonic and tetratonic tunes are common in many parts of the world, not least in traditional music from Micronesia and Poly‐ nesia, as well as among the Māori, the Inuit, the Saami and Native Americans of the great plains.2 Tetratonic modes are also found in Christian psalm and response chanting (ex. 71), while the sound of children chanting tritonic taunts can still be heard in playgrounds in many parts of the world (ex.
  • First Progress Report of the ICEL Music Committee

    First Progress Report of the ICEL Music Committee

    MUSIC FOR THE ENGLISH LANGUAGE ROMAN MISSAL AN INTRODUCTION For the forthcoming English language Roman Missal (sometimes called the Sacramentary), the International Commission on English in the Liturgy will offer to the Conferences of Bishops of the English‐speaking world chants for everything that is set to music in the Missale Romanum, editio typica tertia (2002): • The dialogues between the celebrant (or in the case of the Dismissal, the deacon) and the assembly such as the Sign of the Cross (“In the name of the Father, and of the Son, and of the Holy Spirit”) and the Dismissal (“Go forth, the Mass is ended”); • Tones for singing the presidential prayers (Collect, Prayer over the Offerings, Prayer after Communion) with all prayer texts pointed for singing; • The chants before and after the readings such as “A reading from the book of…” and “The Gospel of the Lord”; • Separate tones for singing the First Reading, Second Reading, and Gospel; • The Universal Prayer or Prayer of the Faithful; • The Preface Dialogue and Prefaces, including a musical setting of every Preface; • Full musical settings of Eucharistic Prayers I, II, III and IV, and the concluding Doxology; • Other elements such as the Kyrie, Gloria, Creed, Sanctus, Agnus Dei, and Lord’s Prayer; • Chants for particular days and feasts such as “Hosanna to the Son of David” on Palm Sunday, the Universal Prayer and “Behold the wood of the Cross” on Good Friday, the Exsultet (Paschal Proclamation) at the Easter Vigil, antiphons for the Feast of the Presentation of the Lord on February 2nd, and the Proclamation of Easter and Moveable Feasts for Epiphany.
  • How to Construct Modes

    How to Construct Modes

    How to Construct Modes Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. There are seven basic modes and you may derive them utilizing a major scale as reference. The names of the 7 modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian Each scale or mode has distinctive note relationships which give it its unique sound. The simplest way to construct modes is to construct a seven note scale starting from each successive note in a major scale. By referencing the diatonic notes in the original major scale (ionian mode), all seven modes can be created from each of the major scale notes. • Ionian is scale degree l to l (one octave higher or lower) • Dorian is 2 to 2 • Phrygian is 3 to 3 • Lydian is 4 to 4 • Mixolydian is 5 to 5 • Aeolian is 6 to 6 • Locrian is 7 to 7 However, there is a better way to construct any mode: To construct any mode, think of the scale degree it is associated with. For example, dorian can be associated with the second degree of a major scale. As we have seen, modes may be constructed by building a diatonic 7 note scale beginning on each successive major scale degree. But you need to be able to construct on any note any of the seven modes without first building a major scale.
  • The New Dictionary of Music and Musicians

    The New Dictionary of Music and Musicians

    The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno­ mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo­ ries and polyphonic music. IV. Modal scales and folk­ song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela­ tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so­ called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes.
  • THE MODES of ANCIENT GREECE by Elsie Hamilton

    THE MODES of ANCIENT GREECE by Elsie Hamilton

    THE MODES OF ANCIENT GREECE by Elsie Hamilton * * * * P R E F A C E Owing to requests from various people I have consented with humility to write a simple booklet on the Modes of Ancient Greece. The reason for this is largely because the monumental work “The Greek Aulos” by Kathleen Schlesinger, Fellow of the Institute of Archaeology at the University of Liverpool, is now unfortunately out of print. Let me at once say that all the theoretical knowledge I possess has been imparted to me by her through our long and happy friendship over many years. All I can claim as my own contribution is the use I have made of these Modes as a basis for modern composition, of which details have been given in Appendix 3 of “The Greek Aulos”. Demonstrations of Chamber Music in the Modes were given in Steinway Hall in 1917 with the assistance of some of the Queen’s Hall players, also 3 performances in the Etlinger Hall of the musical drama “Sensa”, by Mabel Collins, in 1919. A mime “Agave” was performed in the studio of Madame Matton-Painpare in 1924, and another mime “The Scorpions of Ysit”, at the Court Theatre in 1929. In 1935 this new language of Music was introduced at Stuttgart, Germany, where a small Chamber Orchestra was trained to play in the Greek Modes. Singers have also found little difficulty in singing these intervals which are not those of our modern well-tempered system, of which fuller details will be given later on in this booklet.
  • Singing the Prostopinije Samohlasen Tones in English: a Tutorial

    Singing the Prostopinije Samohlasen Tones in English: a Tutorial

    Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V.
  • Chapter 26 Scales a La Mode

    Chapter 26 Scales a La Mode

    CHAPTER 26 SCALES A LA MODE Musical innovation is full of danger to the State, for when modes of music change, the laws of the State always change with them. PLATO WHAT IS A MODE? A mode is a type of scale. Modes are used in music like salsa, jazz, country, rock, fusion, speed metal, and more. The reason the Chapter image is of musicians jamming is that modes are important to understanding (and using) jazz theory, and helpful if you’re trying to understand improvisation. Certain modes go with certain chords. For more information about modes and their specific uses in jazz, read James Levine’s excellent book, Jazz Theory. On the Web at http://is.gd/iqufof These are also called “church modes” because they were first used in the Catholic Church back in Medieval times (remember good old Guido d’ Arezzo?). The names of the modes were taken from the Greek modes, but other than the names, they have no relation to the Greek modes. The two modes that have been used the most, and the only two most people know, are now called the Major and natural minor scales. Their original names were the Ionian mode (Major), and the Aeolian mode (natural minor). The other modes are: dorian, phrygian, lydian, mixolydian, and locrian. Modes are easy to understand. We’ll map out each mode’s series of whole and half steps and use the key of C so there aren’t any sharps or flats to bother with. THE MODES IONIAN Ionian is used in nearly all Western music, from Acid Rock to Zydeco.
  • Jazz Harmony Iii

    Jazz Harmony Iii

    MU 3323 JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will enable you to identify and construct chord scales. This subcourse will also enable you to apply chord scales that correspond to given chord symbols in harmonic progressions. Unless otherwise stated, the masculine gender of singular is used to refer to both men and women. Prerequisites for this course include: Chapter 2, TC 12-41, Basic Music (Fundamental Notation). A knowledge of key signatures. A knowledge of intervals. A knowledge of chord symbols. A knowledge of chord progressions. NOTE: You can take subcourses MU 1300, Scales and Key Signatures; MU 1305, Intervals and Triads; MU 3320, Jazz Harmony I (Chord Symbols/Extensions); and MU 3322, Jazz Harmony II (Chord Progression) to obtain the prerequisite knowledge to complete this subcourse. You can also read TC 12-42, Harmony to obtain knowledge about traditional chord progression. TERMINAL LEARNING OBJECTIVES MU 3323 1 ACTION: You will identify and write scales and modes, identify and write chord scales that correspond to given chord symbols in a harmonic progression, and identify and write chord scales that correspond to triads, extended chords and altered chords. CONDITION: Given the information in this subcourse, STANDARD: To demonstrate competency of this task, you must achieve a minimum of 70% on the subcourse examination. MU 3323 2 TABLE OF CONTENTS Section Subcourse Introduction Administrative Instructions Grading and Certification Instructions L esson 1: Sc ales and Modes P art A O verview P art B M ajor and Minor Scales P art C M odal Scales P art D O ther Scales Practical Exercise Answer Key and Feedback L esson 2: R elating Chord Scales to Basic Four Note Chords Practical Exercise Answer Key and Feedback L esson 3: R elating Chord Scales to Triads, Extended Chords, and Altered Chords Practical Exercise Answer Key and Feedback Examination MU 3323 3 ADMINISTRATIVE INSTRUCTIONS 1.
  • (405) 527-0640 (580) 476-3033 (580) 759-3331

    (405) 527-0640 (580) 476-3033 (580) 759-3331

    Ready-Made Adventures. Take the guesswork out of your getaway. AdventureRoad.com features more than 50 Oklahoma road trips for every interest, every personality and every budget. All the planning’s done — all you have to do is hit the road. AdventureRoad.com #MyAdventureRoad Adventure Road @AdventureRoadOK @AdventureRoad UNI_16-AR-068_CNCTVisitorsGuide2017_Print.indd 1 8/19/16 4:38 PM Ready-Made Adventures. Take the guesswork out of your getaway. AdventureRoad.com features more than 50 Oklahoma road trips for every interest, every personality and every budget. All the planning’s done — all you have to do is hit the road. 3 1 2O 23 31 4₄ Earth 1Air Golf Fire Water Listings Northeast Southwest Courses Northwest Southeast Businesses CHICKASAW COUNTRY CHICKASAW COUNTRY Distances from major regional cities to the GUIDE 2017 GUIDE 2017 Chickasaw Nation Welcome Center in Davis, OK Miles Time Albuquerque, NM 577 8hrs 45min Amarillo, TX 297 4hrs 44min Austin, TX 316 4hrs 52min Branson, MO 394 5hrs 42min Colorado Springs, CO 663 10hrs 7min CHICKASAWCOUNTRY.COM CHICKASAWCOUNTRY.COM Dallas, TX 134 2hrs 15min HAVE YOU SEEN OUR COVERS? We've designed four unique covers - one for each quadrant of Fort Smith, AR 213 3hrs 23min Chickasaw Country - Northeast (Earth), Southwest (Air), Northwest (Fire) and Southeast (Water). Houston, TX 374 5hrs 30min Each cover speaks to the element that's representative of that quadrant. Joplin, MO 287 4hrs 12min Return to your roots in Earth. Let your spirit fly in Air. Turn up the heat in Fire. Make a splash in Water. Kansas City, MO 422 5hrs 57min Each quadrant of Chickasaw Country offers some of the best attractions, festivals, shops, restaurants Little Rock, AR 369 5hrs 31min and lodging in Oklahoma.
  • I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D

    I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D

    Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I.
  • 1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB

    1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB

    Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J.
  • The 1St Marine Division and Its Regiments

    The 1St Marine Division and Its Regiments

    thHHarine division and its regiments HISTORY AND MUSEUMS DIVISION HEADQUARTERS, U.S. MARINE CORPS WASHINGTON, D.C. A Huey helicopter rapidly dispatches combat-ready members of Co C, 1st Bn, 1st Mar, in the tall-grass National Forest area southwest of Quang Tri in Viet- nam in October 1967. The 1st Marine Division and Its Regiments D.TSCTGB MARINE CORPS RESEARCH CENTER ATTN COLLECTION MANAGEMENT (C40RCL) MCCDC 2040 BROADWAY ST QUANTICOVA 22134-5107 HISTORY AND MUSEUMS DIVISION HEADQUARTERS, U.S. MARINE CORPS WASHINGTON, D.C. November 1981 Table of Contents The 1st Marine Division 1 The Leaders of the Division on Guadalcanal 6 1st Division Commanding Generals 7 1st Marine Division Lineage 9 1st Marine Division Honors 11 The 1st Division Patch 12 The 1st Marines 13 Commanding Officers, 1st Marines 15 1st Marines Lineage 18 1st Marines Honors 20 The 5th Marines 21 Commanding Officers, 5th Marines 23 5th Marines Lineage 26 5th Marines Honors 28 The 7th Marines 29 Commanding Officers, 7th Marines 31 7th Marines Lineage 33 7th Marines Honors 35 The 1 1th Marines 37 Commanding Officers, 11th Marines 39 1 1th Marines Lineage 41 1 1th Marines Honors 43 iii The 1st Marine Division The iST Marine Division is the direct descendant of the Marine Corps history and its eventual composition includ- Advance Base Brigade which was activated at Philadelphia ed the 1st, 5th, and 7th Marines, all infantry regiments, on 23 December 1913. During its early years the brigade and the 11th Marines artillery regiment. Following the was deployed to troubled areas in the Caribbean.