It's All Relative

Total Page：16

File Type：pdf, Size：1020Kb

Forte clip ‘n’ save It’s All Relative Some Keys Have More in Common than You Think At first glance, the E major and C# minor scales make for easy and natural-sounding key changes. seem to have nothing in common. They start on Composers frequently take advantage of this. For example, sonata-allegro form—the musical structure different notes. They have opposite tonalities— found in the first movement of most symphonies— one major and one minor. However, they do have always uses an opening theme in one key and a one very important similarity: Both share F#, second theme in the relative key. C#, G#, and D# in their key signatures. Because Relative keys are not to be confused with parallel of their identical key signatures, E major and keys, which share the same tonic—that is, the first scale degree—but do not share a key signature. This C# minor are known as relative keys. means, simply, that A major and A minor are parallel Each major key has a relative minor, and vice versa. keys, B major and B minor are parallel keys, and so To find a major key’s relative minor, count down one- on. To find the correct key signature for a parallel and-a-half steps, or a minor third. For example, if you minor key, lower the third, sixth, and seventh scale are given the key of D major, count down a minor degrees; alternately, to find the key signature of a third from D to B, which tells you that the relative key parallel major key, raise the third, sixth, and seventh is B minor. This rule works in reverse, as well. If you scale degrees. are given the key of A minor, for instance, count up Below is the F major scale, its relative minor, and its a minor third to find that the relative key is C major. parallel minor. Remember to pay attention to the key Since relative keys have identical key signatures, and signature for each! therefore use all the same notes of the scale, they F Major D Minor (Relative Minor) F Minor (Parallel Minor).

Copy Link

Recommended publications

Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
Fakultät fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakultät fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof.
[Show full text]
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. 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 College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success.
[Show full text]
The Romantext Format: a Flexible and Standard Method for Representing Roman Numeral Analyses
THE ROMANTEXT FORMAT: A FLEXIBLE AND STANDARD METHOD FOR REPRESENTING ROMAN NUMERAL ANALYSES Dmitri Tymoczko1 Mark Gotham2 Michael Scott Cuthbert3 Christopher Ariza4 1 Princeton University, NJ 2 Cornell University, NY 3 M.I.T., MA 4 Independent [email protected], [email protected], [email protected] ABSTRACT Absolute chord labels are performer-oriented in the sense that they specify which notes should be played, but Roman numeral analysis has been central to the West- do not provide any information about their function or ern musician’s toolkit since its emergence in the early meaning: thus one and the same symbol can represent nineteenth century: it is an extremely popular method for a tonic, dominant, or subdominant chord. Accordingly, recording subjective analytical decisions about the chords these labels obscure a good deal of musical structure: a and keys implied by a passage of music. Disagreements dominant-functioned G major chord (i.e. G major in the about these judgments have led to extensive theoretical de- local key of C) is considerably more likely to descend by bates and ongoing controversies. Such debates are exac- perfect ﬁfth than a subdominant-functioned G major (i.e. G erbated by the absence of a public corpus of expert Ro- major in the key of D major). This sort of contextual in- man numeral analyses, and by the more fundamental lack formation is readily available to both trained and untrained of an agreed-upon, computer-readable syntax in which listeners, who are typically more sensitive to relative scale those analyses might be expressed. This paper speciﬁes degrees than absolute pitches.
[Show full text]
A Graduate Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 A Graduate Recital Report Richard J. Muirhead Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Muirhead, Richard J., "A Graduate Recital Report" (1970). All Graduate Plan B and other Reports. 611. https://digitalcommons.usu.edu/gradreports/611 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. A GRADUATE RECITA L REFDRT by Richard J. Huirhead Rerort of a recital performed in partial fulfill"-ent of the requirements for the degree of ·l1AS TER OF BUSIC in Applied Husic UTAH STATE UNIVERSITY Logan, Utah 1970 ACKNO\VLEDGENEN'IS Sincere appreciation is given to the members of ~ co ~~ ttee, Dr. 1-lilliam Ramsey, Dr. Alma Dittmer and Dr. 11ax Dalby, for their unselfishly giving me of their time, including holidays and weekends, to assist me ;Qth ~ special needs. I would like to particularly thank Dr. Rams~y , ~major professor, "no has guided me to a new insight of sineing ar.d ·,rho has helped to open a ;rhole ne1·1 field of repertoire for me . Debbie Schoonmaker, nw accompanist, deserves special praise and appreciation for her skill and musicRl talent ;,hich helped to make this recitel a success. Host i mp ortant of all, I wish to thank ~ ;Qfe , Alke, for her assistance and encouragerr.e nt in the preparing of t he reci tR1 and this paper.
[Show full text]
Parallel Keys and Remote Modulation in Selected String
1 MacKay, James. “Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets.”.” HAYDN: Online Journal of the Haydn Society of North America 8.2 (Fall 2018), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2018. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets by James MacKay Loyola University Abstract As asserted by Ethan Haimo in a 1990 article, Joseph Haydn’s Piano Trio in A-flat major, Hob. XV: 14 (1789-90), comprises his first use of a chromatic third relationship between movements of an instrumental work, with a I—flat VI—I tonal plan. This harmonic strategy, immediately taken up by Beethoven in his Piano Trio in G major, Op. 1 no. 2 (slow movement in E, VI) and his Piano Sonata in C major, Op. 2 no. 3 (slow movement in E, III), quickly became a conventional feature of early 19th-century tonality. Such third-related shifts in Haydn’s instrumental music occur earlier than 1790, especially in his string quartet Minuet-Trio movements, often built around a parallel major-parallel minor pairing of keys and their relatives. For instance, in Haydn’s String Quartet in F major, Op. 50 no. 5 (Der Traum), third movement, Haydn effects a chromatic third modulation in two stages: touching briefly upon the parallel key (f minor) in the trio, then moving immediately to its relative major, A-flat (i.e.
[Show full text]
How Should Corpus Studies of Harmony In
Proceedings of the Future Directions of Music Cognition International Conference, 6–7 March 2021 How should corpus studies of harmony in popular music handle the minor tonic? Trevor de Clercq1† 1 Department of Recording Industry, Middle Tennessee State University, Murfreesboro, TN, USA † Corresponding author: [email protected] changed to another (Table 2). Chords with a root of Abstract scale-degree b7, for example, most often moved to Corpus studies of harmony in popular music normally assume chords with a root of 1, 4, and b6 and not often to chords a singular tonic pitch assigned to scale-degree 1, which with a root of 2, 5, or 6. That said, the question of highlights similarities in chord organization between parallel whether these findings supported one theory of keys. Recently, Nobile (2020) posits a “double-tonic complex” in rock, where two tonics—a major chord and its harmonic organization or another was, we admitted, a relative minor—are active simultaneously, such that matter of interpretation. similarities in chord organization manifest between relative keys. Using Kullback-Leibler divergence as a metric, I assess Table 1: Distribution of the eight most common in a corpus of classical music and a corpus of popular music chromatic roots in the RS 5x20 corpus. how well chord organization given a minor tonic is modeled by chord organization in the parallel and relative major. I Root n n/N show that chord organization in the classical corpus is 1 3,058 .328 modeled well by the parallel key encoding, but chord 4 2,104 .226 organization in the popular music corpus shows mixed results.
[Show full text]
Gtrbook1.Pdf
www.guitartheoryrevolution.info Guitar Theory Revolution 2011 1 © 2011 by Cornelis Blokland www.guitartheoryrevolution.info All rights reserved Cornelis Blokland reserves the copyright for the terms: 'Five Fret Pattern' and the 'Universal Note Pattern' Mike George retains all rights to the Color and Shape Code that is depicted on page 11 of this book and that is used in all fretboard diagrams, as well as the term Color Music®. You can find out more about Color Music® at: http://mycolormusic.com Cover illustration and all diagrams created by Daniel Blokland: www.blokland.co.uk www.guitartheoryrevolution.info Guitar Theory Revolution 2011 2 Contents Introduction 6 How To Use This Book 7 Chapter 1: Learning the fretboard 1.1 Numbering the strings 8 1.2 The note names 9 1.3 Learning the notes on the fretboard 10 1.4 Colours and shapes 11 1.5 The 'Universal Note Pattern' 12 1.6 Diagrams for the notes F, G, A, B, C, D and E 13 1.7 Exercises 15 1.8 Test yourself 16 1.9 Filling in the blanks 18 1.10 Chapter summary 18 Chapter 2: The Five Fret Pattern and Intervals 2.1 Relationships and distances between notes 19 2.2 How the guitar is tuned 20 2.3 The 'Five Fret Pattern' 21 2.4 Descending Five Fret Pattern 23 2.5 Why the Five Fret Pattern is Useful 23 2.6 So what is an interval? 24 2.7 Chapter summary 25 Chapter 3: The Major and Natural Minor scale 3.1 The Major scale 26 3.2 The Natural Minor scale 28 3.3 Exercises 29 3.4 Chapter summary 31 www.guitartheoryrevolution.info Guitar Theory Revolution 2011 3 Chapter 4: The CAGED chord pattern 4.1 Major
[Show full text]
Minor Keys and Key Signatures Introduction
Lesson WWW: Minor Keys and Key Signatures Introduction: Lesson VVV discusses how pieces that draw primarily from the pitches of a major scale are said to be in that major key. Similarly, pieces that draw primarily from the pitches of a minor scale—a scale based on the W-H-W-W-H-W-W pattern of whole steps and half steps—are said to be in that minor key. Minor key signatures can likewise be derived from the accidentals of the corresponding minor scale. It is important, however, to keep in mind that minor key signatures reflect the diatonic (or, natural ) form of the minor scale, not the harmonic or melodic composites. In this lesson we will discuss how a minor key is constructed and established as well as how minor key signatures are written and used. Minor keys: Lesson UUU discusses the construction of major scales and the various names given to each scale degree. All of the degrees of a minor scale have names as well. For the most part, these names are the same as those of major keys. The few differences are due to the lower scale degrees 3, 6, and 7. The following example shows the three systems used to label and refer to minor scale degrees: Example 1: The scale degree numbers, of course, remain the same. The solfège syllables mi , la , and ti are changed to me , re , and te to reflect the lowering of those scale degrees. The only difference in the scale degree names is that scale degree 7, in its lowered form, is now referred to as the subtonic .
[Show full text]
Dichterliebe" by Robert Alexander Schumann
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1959 An Analysis of Musical Form, Comparison of Translations, and Interpretations of the "Dichterliebe" by Robert Alexander Schumann David Lynn Walter Eastern Illinois University Follow this and additional works at: https://thekeep.eiu.edu/theses Part of the Musicology Commons Recommended Citation Walter, David Lynn, "An Analysis of Musical Form, Comparison of Translations, and Interpretations of the "Dichterliebe" by Robert Alexander Schumann" (1959). Masters Theses. 4718. https://thekeep.eiu.edu/theses/4718 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. Date � ( / .llN AHALYSIS OF J.ftJSICAL FOilH, COl-iPARISOH OF TRANSLATIONS, AND INTERPHETATIONS OF THE DICHTERLIEBE BY ROBE.'R.T ALEXANDE.11. SCHlJ1·WlN A Thesis Presented to the Faculty of the Department of Husic Eastern Illinois University In Partial Eulfillment of the Requirements for the Degree Master of Science in Education by David LYnn Halter -.:> May 1959. TABLE OF CONTENTS� CHAPTER PAGE I. THE PROBLEM 1 II. GENERAL REMARKS. 2 Schumann '.2 Romanticism and the Lied .3 Schumann and.Romanticism 4 Schubert, Schumann, and Wolf 4 Dichterliebe 6 Source 6 List of songs 7 Poetry and music 8 Accompaniments.and vocal line 11 Cyclic links 16 Editions. •.. 18 III. !'!OTES ON EACH ClF THE. SONGS 21 "Im wunder.schonen Monat Hai11' 21 11:11:us meinen Tranen spriessen11 22 11Die Rose, die Lilie, die Taube" 24 11:Wenn ich in deine Allgen seh 111' 25 "ImRhein, im heiligen Strome" 27 e0Ich grolle nicht11· • • •.
[Show full text]
High School Music Theory Curriculum BOE Adopted
Content Area Course: Music Theory Grade Level: 9-12 Music Theory R14 The Seven Cs of Learning Collaboration Character Communication Critical Citizenship Thinking Creativity Curiosity Unit Titles Length of Unit • The Basics of Music Theory • 2-3 Weeks • Rhythm & Meter • 2-3 Weeks • Scales & Key Signatures • 3-4 Weeks • Intervals • 3- 4 Weeks • Chords • 3-4 Weeks 1 Region 14 Curriculum: High School Music Theory Curriculum BOE Adopted Strands Course Level Expectations Create • The understanding that creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources. • Musicians’ creative choices are influenced by their expertise, context, and expressive intent. • Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. • Musicians’ presentation of creative work is the culmination of a process of creation and communication. Perform • Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the selection of repertoire. • Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance. • Performers make interpretive decisions based on their understanding of context and expressive intent. • To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and the application of appropriate criteria. • Musicians judge performance based on criteria that vary across time, place, and cultures. Respond • Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes. • Can respond to music that is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music.
[Show full text]
A Recurrent Point Mutation in PRKCA Is a Hallmark of Chordoid Gliomas
A recurrent point mutation in PRKCA is a hallmark of chordoid gliomas Shai Rosenberg, Iva Simeonova, Franck Bielle, Maïté Verreault, Bertille Bance, Isabelle Le Roux, Mailys Daniau, Arun Nadaradjane, Vincent Gleize, Sophie Paris, et al. To cite this version: Shai Rosenberg, Iva Simeonova, Franck Bielle, Maïté Verreault, Bertille Bance, et al.. A recurrent point mutation in PRKCA is a hallmark of chordoid gliomas. Nature Communications, Nature Publishing Group, 2018, 9 (1), pp.2371. 10.1038/s41467-018-04622-w. hal-01858239 HAL Id: hal-01858239 https://hal-amu.archives-ouvertes.fr/hal-01858239 Submitted on 7 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License ARTICLE DOI: 10.1038/s41467-018-04622-w OPEN A recurrent point mutation in PRKCA is a hallmark of chordoid gliomas Shai Rosenberg 1,2, Iva Simeonova1, Franck Bielle1,3, Maite Verreault1, Bertille Bance1, Isabelle Le Roux1, Mailys Daniau1, Arun Nadaradjane1, Vincent Gleize1, Sophie Paris1, Yannick Marie1,4, Marine Giry1, Marc Polivka5, Dominique Figarella-Branger6, Marie-Hélène Aubriot-Lorton7, Chiara Villa8, Alexandre Vasiljevic9, Emmanuèle Lechapt-Zalcman10, Michel Kalamarides1,11, Ariane Sharif12, Karima Mokhtari1,3, Stefano Maria Pagnotta13,14, Antonio Iavarone14,15, Anna Lasorella14,16, Emmanuelle Huillard1 & Marc Sanson1,4,17,18 1234567890():,; Chordoid glioma (ChG) is a characteristic, slow growing, and well-circumscribed diencephalic tumor, whose mutational landscape is unknown.
[Show full text]
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9505142 Beethoven's piano concerto in C major, opus 15: Structural analysis and performance strategies Yeh, Gloria Nye-Gin, D.M.A.
[Show full text]