Chord Names and Symbols (Popular Music) from Wikipedia, the Free Encyclopedia
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APPENDIX B Glossary
APPENDIX B Glossary 3-to-1 rule a recording strategy used to avoid phasing issues during stereo miking. The 3-to-1 rule states that the distance between the first and second microphones should be at least three times the distance between the first microphone and the sound source. 50/50 split a common type of contract agreement used in the music industry that equally divides royalties between the composer and publisher. 80:20 ratio a compositional guideline used in media scoring, assigning approximately 80% of the expression to the drama and emotional atmosphere of the scene, while the remaining 20% is used to define the region in which the scene takes place. A AAX shorthand for Avid Audio eXtension, this is a more recent plugin type used by Pro Tools software that is available in native and DSP formats. absorption a category of acoustic treatment that absorbs sound before it has the chance to reflect around the room, which can cause acoustic problems. accelerando a score marking that tells the performer(s) to gradually increase the speed of the music. accented passing tone an embellishment that is approached and left by step in the same direction and takes place in an accented metrical position. accent mark a notational symbol that tells the performer to emphasize a note with a sudden increase in volume. accidental a symbol used to alter the pitch of a note in a given direction without changing its letter, typically creating a chromatic alteration. 432 GLOSSARY accordatura a score marking indicating a cancellation of scordatura and return to standard tuning, usually in a score for stringed instruments. -
How to Navigate Chord Changes by Austin Vickrey (Masterclass for Clearwater Jazz Holiday Master Sessions 4/22/21) Overview
How to Navigate Chord Changes By Austin Vickrey (Masterclass for Clearwater Jazz Holiday Master Sessions 4/22/21) Overview • What are chord changes? • Chord basics: Construction, types/qualities • Chords & Scales and how they work together • Learning your chords • Approaches to improvising over chords • Arpeggios, scales, chord tones, guide tones, connecting notes, resolutions • Thinking outside the box: techniques and exercises to enhance and “spice up” your improvisation over chords What are “chord changes?” • The series of musical chords that make up the harmony to support the melody of a song or part of a song (solo section). • The word “changes” refers to the chord “progression,” the original term. In the jazz world, we call them changes because they typically change chord quality from one chord to the next as the song is played. (We will discuss what I mean by “quality” later.) • Most chord progressions in songs tend to repeat the series over and over for improvisors to play solos and melodies. • Chord changes in jazz can be any length. Most tunes we solo over have a form with a certain number of measures (8, 12, 16, 24, 32, etc.). What makes up a chord? • A “chord" is defined as three or more musical pitches (notes) sounding at the same time. • The sonority of a chord depends on how these pitches are specifically arranged or “stacked.” • Consonant chords - chords that sound “pleasing” to the ear • Dissonant chords - chords that do not sound “pleasing” to the ear Basic Common Chord Types • Triad - 3 note chord arranged in thirds • Lowest note - Root, middle note - 3rd, highest note - 5th. -
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PRESS RELEASE Contact: Mary Ladd Public Information Coordinator Ponca City Public Schools 580-352-4188 [email protected] #TeamPCPS #WildcatWay PCPS Big Blue Band Reports Great Results from Red Carpet Honor Band Auditions The Ponca City Senior High School Big Blue Band members participated in the Red Carpet Honor Band Auditions held on Saturday, November 16 in Chisholm, Oklahoma. The Senior High School Honor Band consists of students in grades 10th through 12th grade. The 9th grade students participated in the Junior High Honor Bands, which is made up of students in grades 7th through 9th. High schools that participated included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Drummond, Enid, Fairview, Fargo-Gage, Garber, Kingfisher, Kremlin-Hillsdale, Laverne, Medford, Mooreland, Newkirk, Okeene, Oklahoma Bible Academy, Perry, Pioneer-Pleasant Vale, Ponca City, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Timberlake, Tonkawa, Waukomis, Waynoka, and Woodward. There were two Junior High Honor Bands selected, an “A” Band and a “B” Band. This is made up of students in grades 7th through 9th grade. Ponca City 9th grade students competed in the junior high area. The 17- 9th graders who earned their positions is the largest number of freshmen Ponca City has ever had make one of the two bands. Schools represented in the junior high tryouts included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Emerson (Enid), Enid, Fairview, Garber, Hennessey, Kingfisher, Kremlin-Hillsdale, Laverne, Longfellow (Enid), Medford, Mooreland, Newkirk, Okarche, Okeene, Oklahoma Bible Academy, Perry Pioneer-Pleasant Vale, Ponca City, Ponca City East, Ponca City West, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Tonkawa, Waller (Enid), Waukomis, Waynoka, and Woodward. -
The Group-Theoretic Description of Musical Pitch Systems
The Group-theoretic Description of Musical Pitch Systems Marcus Pearce [email protected] 1 Introduction Balzano (1980, 1982, 1986a,b) addresses the question of finding an appropriate level for describing the resources of a pitch system (e.g., the 12-fold or some microtonal division of the octave). His motivation for doing so is twofold: “On the one hand, I am interested as a psychologist who is not overly impressed with the progress we have made since Helmholtz in understanding music perception. On the other hand, I am interested as a computer musician who is trying to find ways of using our pow- erful computational tools to extend the musical [domain] of pitch . ” (Balzano, 1986b, p. 297) Since the resources of a pitch system ultimately depend on the pairwise relations between pitches, the question is one of how to conceive of pitch intervals. In contrast to the prevailing approach which de- scribes intervals in terms of frequency ratios, Balzano presents a description of pitch sets as mathematical groups and describes how the resources of any pitch system may be assessed using this description. Thus he is concerned with presenting an algebraic description of pitch systems as a competitive alternative to the existing acoustic description. In these notes, I shall first give a brief description of the ratio based approach (§2) followed by an equally brief exposition of some necessary concepts from the theory of groups (§3). The following three sections concern the description of the 12-fold division of the octave as a group: §4 presents the nature of the group C12; §5 describes three perceptually relevant properties of pitch-sets in C12; and §6 describes three musically relevant isomorphic representations of C12. -
A. Types of Chords in Tonal Music
1 Kristen Masada and Razvan Bunescu: A Segmental CRF Model for Chord Recognition in Symbolic Music A. Types of Chords in Tonal Music minished triads most frequently contain a diminished A chord is a group of notes that form a cohesive har- seventh interval (9 half steps), producing a fully di- monic unit to the listener when sounding simulta- minished seventh chord, or a minor seventh interval, neously (Aldwell et al., 2011). We design our sys- creating a half-diminished seventh chord. tem to handle the following types of chords: triads, augmented 6th chords, suspended chords, and power A.2 Augmented 6th Chords chords. An augmented 6th chord is a type of chromatic chord defined by an augmented sixth interval between the A.1 Triads lowest and highest notes of the chord (Aldwell et al., A triad is the prototypical instance of a chord. It is 2011). The three most common types of augmented based on a root note, which forms the lowest note of a 6th chords are Italian, German, and French sixth chord in standard position. A third and a fifth are then chords, as shown in Figure 8 in the key of A minor. built on top of this root to create a three-note chord. In- In a minor scale, Italian sixth chords can be seen as verted triads also exist, where the third or fifth instead iv chords with a sharpened root, in the first inversion. appears as the lowest note. The chord labels used in Thus, they can be created by stacking the sixth, first, our system do not distinguish among inversions of the and sharpened fourth scale degrees. -
Enovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and Audio Files Are Found in the Media Playlist at the Bottom of Each Lesson Page
P a g e | 1 eNovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and audio files are found in the media playlist at the bottom of each lesson page. eNovation 8 Overview Summary: In eNovation 8 the focus is on recognition and secure performance of commonly found chord shapes and facility in moving between these different shapes Goals on the keyboard. The theoretical understanding of primary chords is emphasized so that students can quickly play chords, harmonize melodies, and realize lead sheets. Key Elements: • Technique: Chord Shapes: 5/3, 6/3, 6/4, 6/5 • Technique: Chordal Shifts and Progressions I, IV6/4, V6/3 and I, IV6/4, V6/5 • Reading: Chords and Inversions • Rhythm: Sixteenth Notes in Compound Meters • Theory: Inversions / Slash Chord Notation • Cadences: I – V7 • Styles: Broken Chord, Alberti Bass, Waltz Bass, Polka, Keyboard Style Go to eNovation 8 Topic Page Topic 1: Introduction to Chord Shapes and Inversions / Sixteenth Notes in Compound Meter Lesson Goals In this eNovation, students learn the 'feel’ of the different chord shapes and to quickly and comfortably shift between them. They will learn how the figured bass symbols for chords and inversions assist in reading and playing chords by shape. Students will also develop understanding of structure, content and fingerings for the different chord inversions. Activity Type / Title with Links Instructions/Comments ☐ Video Inversion Fingerings Watch instructional video Chord inversions have a distinctive shape on the staff and keyboard which Chord Shapes and Figured Bass Inversion determines its figured bass designation. ☐ Theory Symbols (Video and Flashcards) Watch the video: Chord Shapes and Figured Bass Inversion Symbols, then drill with the video flashcards. -
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. -
“Chordal Command”
Musician Transformation Training “CHORDAL COMMAND” This training will cover key insights and techniques you must understand in order to get the most out of the “Chord County” program, which covers Chordal Command concepts. Chords rule in contemporary music and having a deep understanding of how to build and manipulate them is the key to excelling to higher heights. From the most basic chords to complex voicings, this resource will equip you with the formulas and shortcuts to master them all! Enjoy! -Pg 1- © 2010. HearandPlay.com. All Rights Reserved Introduction In this guide, we’ll be starting with triads and what I call the “FANTASTIC FOUR.” Then we’ll move on to shortcuts that will help you master extended chords (the heart of contemporary playing). After that, we’ll discuss inversions (the key to multiplying your chordal vocaluary), primary vs secondary chords, and we’ll end on voicings and the difference between “voicings” and “inversions.” But first, let’s turn to some common problems musicians encounter when it comes to chordal mastery. Common Problems 1. Lack of chordal knowledge beyond triads: Musicians who fall into this category simply have never reached outside of the basic triads (major, minor, diminished, augmented) and are stuck playing the same chords they’ve always played. There is a mental block that almost prohibits them from learning and retaining new chords. Extra effort must be made to embrace new chords, no matter how difficult and unusual they are at first. Knowing the chord formulas and shortcuts that will turn any basic triad into an extended chord is the secret. -
Generalized Interval System and Its Applications
Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist. -
Music Content Analysis : Key, Chord and Rhythm Tracking In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work. -
Jazz Piano Basics Handout WIBC17
JAZZ PIANO BASICS - DAN DAVEY DAN DAVEY JAZZ PIANO BASICS JAZZ PIANO BASICS - DAN DAVEY LEAD YOUR PIANIST ACROSS THE THRESHOLD Your pianists need YOUR help in rehearsal! Don’t expect private teachers to give them everything they need to be successful in YOUR ensemble on YOUR timeline. You need to have an understanding of the role of the piano and how to communicate voicings, comping, style, and more! Joining the jazz band as a pianist (or any other rhythm section instrument) is much different than joining as a horn player. The “concert band notes” look shockingly similar to the “jazz band notes” on the page. The horn player has to learn style and listening responsibilities. The music you hand your pianist looks entirely different and can be very overwhelming unless you know how to help them. BASIC FOUR-NOTE CHORD SYMBOLS Chord tones are numbered based on an 8-note scale using scale degrees 1 (Root), 3, 5, & 7. The following formulas are used to modify a major scale/arpeggio. Basic Symbols: • Major 7th: 1 3 5 7 Cmaj7, Cma7, CM7, C 7 • Dominant 7th: 1 3 5 b7 C7 • Minor 7th: 1 b3 5 b7 Cmin7, Cmi7, Cm7, C-7 • Half-Diminished: 1 b3 b5 b7 C7, C, Cmin7(b5), Cmi7(b5), Cm7(b5), C-7(b5), C-7(-5) • Diminished 7th: 1 b3 b5 bb7 Co7 • Minor-major 7th: 1 b3 5 7 Cmin(maj7), C-( 7) See the pattern of how each chord adds one flat to create the next. CŒ„Š7 C7 C‹7 C‹7(b5) 4 7 b7 4 w 5 bw 5 bw bw & w 3 w 3 b w bb w w Root w Root w w CŒ„Š7 C7 C‹7 C‹7(b5) b7 b7 4 5 b5 w bw bw bw & 4 w w b w b3 bb w b3 w w w Root w Root (Same as half-diminished chord) Note: All of this may be applied to your guitarist as well! JAZZ PIANO BASICS - DAN DAVEY WHAT ARE TENSIONS/EXTENSIONS? Tensions are non chord tones that are added to a chord to change the color/texture of the chord. -
8.1.4 Intervals in the Equal Temperament The
8.1 Tonal systems 8-13 8.1.4 Intervals in the equal temperament The interval (inter vallum = space in between) is the distance of two notes; expressed numerically by the relation (ratio) of the frequencies of the corresponding tones. The names of the intervals are derived from the place numbers within the scale – for the C-major-scale, this implies: C = prime, D = second, E = third, F = fourth, G = fifth, A = sixth, B = seventh, C' = octave. Between the 3rd and 4th notes, and between the 7th and 8th notes, we find a half- step, all other notes are a whole-step apart each. In the equal-temperament tuning, a whole- step consists of two equal-size half-step (HS). All intervals can be represented by multiples of a HS: Distance between notes (intervals) in the diatonic scale, represented by half-steps: C-C = 0, C-D = 2, C-E = 4, C-F = 5, C-G = 7, C-A = 9, C-B = 11, C-C' = 12. Intervals are not just definable as HS-multiples in their relation to the root note C of the C- scale, but also between all notes: e.g. D-E = 2 HS, G-H = 4 HS, F-A = 4 HS. By the subdivision of the whole-step into two half-steps, new notes are obtained; they are designated by the chromatic sign relative to their neighbors: C# = C-augmented-by-one-HS, and (in the equal-temperament tuning) identical to the Db = D-diminished-by-one-HS. Corresponding: D# = Eb, F# = Gb, G# = Ab, A# = Bb.