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View Printable PDF of 4.2 the Modes of Minor
LearnMusicTheory.net 4.3.2 The Modes of Minor These modes use the same notes as the melodic minor scale, but start on different scale steps (except min-maj). So the parent scale of these modes is the melodic minor scale. Each is associated with a chord, shown below. 1. Min-maj 1st mode of the melodic minor scale C- w wmw ^ & w wmbw w w b9 §13 2nd mode of the melodic minor scale 2. Susb9 (§13) wmw w ("2nd mode" means it starts on scale step 2.) Dsusb9 (§13) & wmbw w w w Phrygian-dorian = Phyrgian + §13 #4 #5 3. Lydian aug. mbw 3rd mode of the melodic minor scale wmw w Lydian augmented = Lydian + #5 Eb ^ #5 & bw w w w #4 4. Lydian dominant 4th mode of the melodic minor scale w wmbw w F7#11 & w w w wm Lydian-mixolydian = Mixolydian + #4 5. Min-maj w w 5th mode of mel. minor wmw wmbw Functions as an inversion of C- C- ^ /G & w w ^ 6th mode of melodic minor 6. Half-diminished w w m w wmbw w Locrian with major 9 (§9) A-7b5 (§9) & w w Levine says "Locrian #2" w 7. Altered dominant wmbw w w w 7th mode mel. minor B7alt & wm w "diminished whole tone" Shortcuts from parallel scales You can also spell the modes starting from a major or minor scale on the same tonic pitch as that mode: D natural minor scale D phrygian-dorian scale (compare marked notes) lower Phrygian- I I 2nd step, I I dorian w bw w w raise _ w nw w w Dsusb9 (§13) & w w w _ & bw w w w 6th step _ w Eb major scale Eb lydian augmented scale Lydian aug. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Scale Essentials for Bass Guitar Course Breakdown
Scale Essentials For Bass Guitar Course Breakdown Volume 1: Scale Fundamentals Lesson 1-0 Introduction In this lesson we look ahead to the Scale Essentials course and the topics we’ll be covering in volume 1 Lesson 1-1 Scale Basics What scales are and how we use them in our music. This includes a look at everything from musical keys to melodies, bass lines and chords. Lesson 1-2 The Major Scale Let’s look at the most common scale in general use: The Major Scale. We’ll look at its construction and how to play it on the bass. Lesson 1-3 Scale Degrees & Intervals Intervals are the building blocks of music and the key to understanding everything that follows in this course Lesson 1-4 Abbreviated Scale Notation Describing scales in terms of complete intervals can be a little long-winded. In this lesson we look at a method for abbreviating the intervals within a scale. Lesson 1-5 Cycle Of Fourths The cycle of fourths is not only essential to understanding key signatures but is also a great system for practicing scales in every key Lesson 1-6 Technique Scales are a common resource for working on your bass technique. In this lesson we deep dive into both left and right hand technique Lesson 1-7 Keys & Tonality Let’s look at the theory behind keys, the tonal system and how scales fit into all of this Lesson 1-8 Triads Chords and chord tones will feature throughout this course so let’s take a look at the chord we use as our basic foundation: The Triad Lesson 1-9 Seventh Chords After working on triads, we can add another note into the mix and create a set of Seventh Chords Lesson 1-10 Chords Of The Major Key Now we understand the basics of chord construction we can generate a set of chords from our Major Scale. -
11-Music Scales
Scales in Music Gary Hardegree Department of Philosophy University of Massachusetts Amherst, MA 01003 1. Introduction......................................................................................................................................1 2. The Fundamental Unit – The Octave...............................................................................................2 1. An Aside on Logarithmic Scales .........................................................................................5 2. Cents and Sensibility............................................................................................................6 3. The Pythagorean Construction of the Major Scale..........................................................................7 4. Ptolemaic Tuning...........................................................................................................................10 5. Mean-Tone Temperament (Tuning by Major Thirds) ...................................................................11 6. Problems with Perfect Tuning........................................................................................................12 1. An Aside on The Circle of Fifths and the Circle of Thirds................................................14 2. Back to the Problem of Tuning by Fifths...........................................................................14 3. Ptolemaic Tuning Makes Matters Even Worse! ................................................................15 4. Mean-Tone Temperament’s Wolves..................................................................................17 -
Joe's Guitar Method Towards a Jazz Improviser's Technique
Joe’s Guitar Method Towards A Jazz Improviser’s Technique I. Intro Pg. 1 II. Tuning & Setup Pg. 5 A. The Grand Staff B. Using a Tuner C. Intonation D. Action and String Gauges E. About Whammy Bars III. Learning The Fretboard Pg. 11 A. The C Major Scale....(how to find the “natural” pitches on each string) IV. Basic Guitar Techniques Pg. 13 A. Overview B. Holding the Pick C. Fretting Hand: Placement of the Fingers D. String Dampening E. Fretting Hand: Placement Of the Thumb F. Fretting Hand: Finger Stretches G. Fretting Hand: The Wrist (About Carpal Tunnel Syndrome) H. Position Playing on Single Strings V. Single String Exercises Pg. 19 A. 6th String B. 5th String C. 4th String D. 3rd String E. 2nd String F. 1st String G. Phrasing Possibilities On A Single String VI. Chords: Construction/Execution/Basic Harmony Pg. 35 A. Triads 1. Construction 2. Movable Triadic Chord Forms a) Freddie Green Style - Part 1 (1) Strumming (2) Pressure Release Points (3) Rhythm Slashes (4) Changing Chords 3. Inversions 4. Open Position Major Chord Forms 5. Open Position - Other Triadic Chords a) Palm Mutes B. Seventh Chords 1. Construction 2. Movable Seventh Chord Forms 3. Open Position Seventh Chord Forms C. Chords With Added Tensions 1. Construction D. Simple Diatonic Harmony E. Elementary Voice Leading F. Changes To Some Standard Tunes 1. All The Things You Are 2. Confirmation 3. Rhythm Changes 4. Sweet Georgia Brown 5. All Of Me 5. All Of Me VII. Open Position Pg. 69 A. Overview B. Picking Techniques 1. -
A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum Alexis Joy Smerdon University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Education Commons, Music Pedagogy Commons, and the Music Theory Commons Recommended Citation Smerdon, Alexis Joy, "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4076 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Alexis Joy Smerdon entitled "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara A. Murphy, Major Professor We have read this thesis and recommend its acceptance: Kenneth Stephenson, Alex van Duuren Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Alexis Joy Smerdon August 2016 ii Copyright © 2016 by Alexis Joy Smerdon All rights reserved. -
Stravinsky and the Octatonic: a Reconsideration
Stravinsky and the Octatonic: A Reconsideration Dmitri Tymoczko Recent and not-so-recent studies by Richard Taruskin, Pieter lary, nor that he made explicit, conscious use of the scale in many van den Toorn, and Arthur Berger have called attention to the im- of his compositions. I will, however, argue that the octatonic scale portance of the octatonic scale in Stravinsky’s music.1 What began is less central to Stravinsky’s work than it has been made out to as a trickle has become a torrent, as claims made for the scale be. In particular, I will suggest that many instances of purported have grown more and more sweeping: Berger’s initial 1963 article octatonicism actually result from two other compositional tech- described a few salient octatonic passages in Stravinsky’s music; niques: modal use of non-diatonic minor scales, and superimposi- van den Toorn’s massive 1983 tome attempted to account for a tion of elements belonging to different scales. In Part I, I show vast swath of the composer’s work in terms of the octatonic and that the rst of these techniques links Stravinsky directly to the diatonic scales; while Taruskin’s even more massive two-volume language of French Impressionism: the young Stravinsky, like 1996 opus echoed van den Toorn’s conclusions amid an astonish- Debussy and Ravel, made frequent use of a variety of collections, ing wealth of musicological detail. These efforts aim at nothing including whole-tone, octatonic, and the melodic and harmonic less than a total reevaluation of our image of Stravinsky: the com- minor scales. -
The Consecutive-Semitone Constraint on Scalar Structure: a Link Between Impressionism and Jazz1
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz1 Dmitri Tymoczko The diatonic scale, considered as a subset of the twelve chromatic pitch classes, possesses some remarkable mathematical properties. It is, for example, a "deep scale," containing each of the six diatonic intervals a unique number of times; it represents a "maximally even" division of the octave into seven nearly-equal parts; it is capable of participating in a "maximally smooth" cycle of transpositions that differ only by the shift of a single pitch by a single semitone; and it has "Myhill's property," in the sense that every distinct two-note diatonic interval (e.g., a third) comes in exactly two distinct chromatic varieties (e.g., major and minor). Many theorists have used these properties to describe and even explain the role of the diatonic scale in traditional tonal music.2 Tonal music, however, is not exclusively diatonic, and the two nondiatonic minor scales possess none of the properties mentioned above. Thus, to the extent that we emphasize the mathematical uniqueness of the diatonic scale, we must downplay the musical significance of the other scales, for example by treating the melodic and harmonic minor scales merely as modifications of the natural minor. The difficulty is compounded when we consider the music of the late-nineteenth and twentieth centuries, in which composers expanded their musical vocabularies to include new scales (for instance, the whole-tone and the octatonic) which again shared few of the diatonic scale's interesting characteristics. This suggests that many of the features *I would like to thank David Lewin, John Thow, and Robert Wason for their assistance in preparing this article. -
Towards a Generative Framework for Understanding Musical Modes
Table of Contents Introduction & Key Terms................................................................................1 Chapter I. Heptatonic Modes.............................................................................3 Section 1.1: The Church Mode Set..............................................................3 Section 1.2: The Melodic Minor Mode Set...................................................10 Section 1.3: The Neapolitan Mode Set........................................................16 Section 1.4: The Harmonic Major and Minor Mode Sets...................................21 Section 1.5: The Harmonic Lydian, Harmonic Phrygian, and Double Harmonic Mode Sets..................................................................26 Chapter II. Pentatonic Modes..........................................................................29 Section 2.1: The Pentatonic Church Mode Set...............................................29 Section 2.2: The Pentatonic Melodic Minor Mode Set......................................34 Chapter III. Rhythmic Modes..........................................................................40 Section 3.1: Rhythmic Modes in a Twelve-Beat Cycle.....................................40 Section 3.2: Rhythmic Modes in a Sixteen-Beat Cycle.....................................41 Applications of the Generative Modal Framework..................................................45 Bibliography.............................................................................................46 O1 O Introduction Western -
Tonal Frequencies, Consonance, Dissonance: a Math-Bio Intersection Steve Mathew1,2* 1
Tonal Frequencies, Consonance, Dissonance: A Math-Bio Intersection Steve Mathew1,2* 1. Indian Institute of Technology Madras, Chennai, IN 2. Vellore Institute of Technology, Vellore, IN *Corresponding Author Email: [email protected] Abstract To date, calculating the frequencies of musical notes requires one to know the frequency of some reference note. In this study, first-order ordinary differential equations are used to arrive at a mathematical model to determine tonal frequencies using their respective note indices. In the next part of the study, an analysis that is based on the fundamental musical frequencies is conducted to theoretically and neurobiologically explain the consonance and dissonance caused by the different musical notes in the chromatic scale which is based on the fact that systematic patterns of sound invoke pleasure. The reason behind the richness of harmony and the sonic interference and degree of consonance in musical chords are discussed. Since a human mind analyses everything relatively, anything other than the most consonant notes sounds dissonant. In conclusion, the study explains clearly why musical notes and in toto, music sounds the way it does. Keywords: Cognitive Musicology, Consonance, Mathematical Modelling, Music Analysis, Tension. 1. Introduction The frequencies of musical notes follow an exponential increase on the keyboard. It is the basis upon which we choose to use the first-order ordinary differential equations to draw the model. In the next part of the study, we analyze the frequencies using sine waves by plotting them against each other and look for patterns that fundamentally unravel the reason why a few notes of a chromatic scale harmonize with the tonic and some disharmonize.