Pemetaan Pola Progresi Chord Berdasarkan Kombinasi Interval
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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. -
Proquest Dissertations
A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om 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 contLDuing 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. -
TEKNIK GRAFIKA DAN INDUSTRI GRAFIKA JILID 1 Untuk SMK
Antonius Bowo Wasono, dkk. TEKNIK GRAFIKA DAN INDUSTRI GRAFIKA JILID 1 SMK Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Hak Cipta pada Departemen Pendidikan Nasional Dilindungi Undang-undang TEKNIK GRAFIKA DAN INDUSTRI GRAFIKA JILID 1 Untuk SMK Penulis : Antonius Bowo Wasono Romlan Sujinarto Perancang Kulit : TIM Ukuran Buku : 17,6 x 25 cm WAS WASONO, Antonius Bowo t Teknik Grafika dan Industri Grafika Jilid 1 untuk SMK /oleh Antonius Bowo Wasono, Romlan, Sujinarto---- Jakarta : Direktorat Pembinaan Sekolah Menengah Kejuruan, Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah, Departemen Pendidikan Nasional, 2008. iii, 271 hlm Daftar Pustaka : Lampiran. A Daftar Istilah : Lampiran. B ISBN : 978-979-060-067-6 ISBN : 978-979-060-068-3 Diterbitkan oleh Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional Tahun 2008 KATA SAMBUTAN Puji syukur kami panjatkan kehadirat Allah SWT, berkat rahmat dan karunia Nya, Pemerintah, dalam hal ini, Direktorat Pembinaan Sekolah Menengah Kejuruan Direktorat Jenderal Manajemen Pendidikan Dasar dan Menengah Departemen Pendidikan Nasional, telah melaksanakan kegiatan penulisan buku kejuruan sebagai bentuk dari kegiatan pembelian hak cipta buku teks pelajaran kejuruan bagi siswa SMK. Karena buku-buku pelajaran kejuruan sangat sulit di dapatkan di pasaran. Buku teks pelajaran ini telah melalui proses penilaian oleh Badan Standar Nasional Pendidikan sebagai buku teks pelajaran untuk SMK dan telah dinyatakan memenuhi syarat kelayakan untuk digunakan dalam proses pembelajaran melalui Peraturan Menteri Pendidikan Nasional Nomor 45 Tahun 2008 tanggal 15 Agustus 2008. Kami menyampaikan penghargaan yang setinggi-tingginya kepada seluruh penulis yang telah berkenan mengalihkan hak cipta karyanya kepada Departemen Pendidikan Nasional untuk digunakan secara luas oleh para pendidik dan peserta didik SMK. -
How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th -
The Circle of Fifths
The Circle of Fifths Why a circle? The cyclical nature of musical notes Using a circle diagram to study music can be extremely helpful because of the mathematical beauty of music. In previous lessons, we have touched on the fact that musical notes repeat themselves in predictable patterns going up in pitch. When the sound wave frequency of any particular note is doubled, that same note is produced but at a higher pitch. That note is what we call an octave note; it is one octave above the note below which is half its frequency. You can view this in a linear way, visualizing the notes from left to right in a straight line, as we have done from time to time using the piano keyboard as a diagram: Fig. 1, the seven octaves of the 88-key piano keyboard. In this diagram, I have marked some C notes and A notes on the piano keyboard to illustrate how they repeat themselves, going higher in pitch as you move from left to right. The C note with a blue (cyan) background color is known as “middle C” or also as C4, because it appears in the fourth full octave contained on a standard 88 key keyboard. This C note is twice the sound frequency of the next lower C to the left (C3). It is half the sound frequency of the next highest C to the right (C5). The A note with a yellow background (A4) is important because it is the note most often used these days as the “concert pitch” – it is the note that is traditionally used for all instruments in an orchestra to tune to, so that everyone plays in tune together. -
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 -
Bridges Conference Paper
Bridges 2019 Conference Proceedings Make Music Visible, Play Mathematics Andrea Capozucca1 and Marco Fermani2 1University of Camerino, Italy; [email protected] 2Musician and composer, Potenza Picena, Italy; [email protected] Abstract The workshop is based on interdisciplinary and interactive activities that links mathematics and music and presents mathematical and musical ideas through hands-on and multisensorial approaches. Its goals are to encourage maths teachers to inspire students by making maths audible as well as visible, and music teachers to use a geometrical method to foster a new approach towards music theory. Participants learn how the creative discovery process can be used to form an atmosphere of experimentation and play that can positively affect people attitudes about mathematics, music and learning. Introduction Music and geometry has always had more contact points than we can ever imagine, but nevertheless music theorists has focused attention on counting and ratios. As the great 17th-century German mathematician Gottfried Leibniz wrote: “Music is the sensation of counting without being aware you were counting.” But there is more to this connection than counting. As the French baroque composer Rameau declared in 1722: “I must confess that only with the aid of mathematics did my ideas become clear.” So, is there really a link? Or is it crazy to try to connect the creative art of music with the steely logic of mathematics? Certainly the grammar of music – rhythm and pitch – has mathematical foundations. While the combinations of notes we have been drawn to over the centuries can all be explained through numbers, music is more than just notes and beats. -
Circle of Fifths Guitar Scales
Circle of fifths guitar scales Continue We used to talk about a large scale. We have built a large scale C, which happens to contain no sharp and non-flats. We then created some other large scales based on the same exact scale formula; that is, with the same exact type of steps as major C, but starting with a different note other than C. C Main Scale C♯ D D♯ E F♯ G♯ A♯ B C Let's take the fifth note in C-scale (tone G) and use this note to make a new scale. What will be the names of the notes? From G we will apply the formula of whole and half steps, using chromatic scales as our source: wh, wh, h, wh, wh, h. the result is G A B B C D F F♯ F. G. G. G. Major Scale G♯ A♯ B C C C♯ D♯ E F F♯ G When writing notation, we will always write sharp when F appear? It seems annoying. Therefore, the standard practice is to announce it at the beginning of a piece of music called key signatureA markings used at the beginning of a piece of written music to specify the key; usually, which notes will be sharp or which notes will be flat. (But not both) (pictured). This symbol indicates that until otherwise stated, all F will actually be F♯. Note that the sharp one is placed directly above the triple key line of note F. This key signature will be a G major key. While useful in understanding notation, key signatures are also valuable, even if we never read music. -
A Transformational Approach to Jazz Harmony
A TRANSFORMATIONAL APPROACH TO JAZZ HARMONY Michael McClimon Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University January 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Julian Hook, Ph.D. Kyle Adams, Ph.D. Blair Johnston, Ph.D. Brent Wallarab, M.M. December 9, 2015 ii Copyright © 2016 Michael McClimon iii Acknowledgements This project would not have been possible without the help of many others, each of whom deserves my thanks here. Pride of place goes to my advisor, Jay Hook, whose feedback has been invaluable throughout the writing process, and whose writing stands as a model of clarity that I can only hope to emulate. Thanks are owed to the other members of my committee as well, who have each played important roles throughout my education at Indiana: Kyle Adams, Blair Johston, and Brent Wallarab. Thanks also to Marianne Kielian-Gilbert, who would have served on the committee were it not for the timing of the defense during her sabbatical. I would like to extend my appreciation to Frank Samarotto and Phil Ford, both of whom have deeply shaped the way I think about music, but have no official role in the dissertation itself. I am grateful to the music faculty of Furman University, who inspired my love of music theory as an undergraduate and have more recently served as friends and colleagues during the writing process. -
Harmony Analysis
Workshop HfM Karlsruhe Music Information Retrieval Harmony Analysis Christof Weiß, Frank Zalkow, Meinard Müller International Audio Laboratories Erlangen [email protected] [email protected] [email protected] Book: Fundamentals of Music Processing Meinard Müller Fundamentals of Music Processing Audio, Analysis, Algorithms, Applications 483 p., 249 illus., hardcover ISBN: 978-3-319-21944-8 Springer, 2015 Accompanying website: www.music-processing.de Book: Fundamentals of Music Processing Meinard Müller Fundamentals of Music Processing Audio, Analysis, Algorithms, Applications 483 p., 249 illus., hardcover ISBN: 978-3-319-21944-8 Springer, 2015 Accompanying website: www.music-processing.de Chapter 5: Chord Recognition 5.1 Basic Theory of Harmony 5.2 Template-Based Chord Recognition 5.3 HMM-Based Chord Recognition 5.4 Further Notes In Chapter 5, we consider the problem of analyzing harmonic properties of a piece of music by determining a descriptive progression of chords from a given audio recording. We take this opportunity to first discuss some basic theory of harmony including concepts such as intervals, chords, and scales. Then, motivated by the automated chord recognition scenario, we introduce template-based matching procedures and hidden Markov models—a concept of central importance for the analysis of temporal patterns in time-dependent data streams including speech, gestures, and music. Dissertation: Tonality-Based Style Analysis Christof Weiß Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Dissertation, Ilmenau University of Technology, 2017 Chapter 5: Analysis Methods for Key and Scale Structures Chapter 6: Design of Tonal Features Recall: Chroma Features . Human perception of pitch is periodic . -
Is CBS 1766 a Tone-Circle?
1 Is CBS 1766 a Tone-Circle? by Sara de Rose Abstract This paper illustrates how the heptagram on tablet CBS 1766 can be derived as a geometric/numeric pattern when creating a 12-tone scale by reducing perfect fifths. It also shows that the sequence 4,1,5,2,6,3,7, generated by following the diagonals of the heptagram on CBS 1766, explains the construction of the diatonic scale. The paper suggests that the sequence 4,1,5,2,6,3,7 was originally derived from the 12-tone scale and then later re-applied, intentionally, to create the diatonic scale. It is suggested that this re-application of the sequence 4,1,5,2,6,3,7 to create the diatonic scale was, in fact, an analogy, in the original sense of the word (i.e. a comparison based on number) and that a series of further analogies using the sequence 4,1,5,2,6,3,7 were also created – analogies that extended beyond the practical applications of music. Finally, the paper shows that the sequence 4,1,5,2,6,3,7 has a role, today, in teaching music theory, for it is, quite literally, what musicians call the key . 2 Is CBS 1766 a Tone-Circle? 1 In New Light on the Babylonian Tonal System , Figure 1: CBS 1766 L. Crickmore suggests that musicologists pose the question “could CBS 1766 be the earliest known example of a tone-circle?” This paper explores that possibility. There are two assumptions that I will make before exploring the diagram on CBS 1766 as relating to a tone-circle. -
AMM Study with Arcosys 2018
[email protected] SPECIAL RESEARCH PROJECT: www.MuK.ac.at www.JuraMargulis.com www.PianistToPianist.com Musical Performance Memory with Ar.Co.Sys, a Musical Mnemonic Method (AMMM) AMMM was introduced in 2017 in the last year of the International Piano Academy Freiburg, continued as a special research project of the IWF (Institut für Wissenschaft und Forschung) at the MuK Vienna University in 2018, and features a multi-year study of a methodology specially developed to analyze and train the pianist musician’s onstage performance memory. It draws on the millennium old knowledge of mnemonics, the art and science of memorization, as well as recent cognitive, psychological, and scientific research, and introduces a completely innovative aspect: The creation and methodical development of ArCoSys ~ Artificial ‘Color Synesthesia’ (or ‘Chromesthesia’, or ‘sound-color synesthesia’) chromatically applied to the primary harmonic relations of the Circle of Fifths. The integration of ArCoSys systematically into a multilayered retrieval structure by repetition with purpose is the object of study and foundation of the ArCoSys Musical Mnemonic Method. AMMM is a voluntary and feed-back based open study with a growing number of participants; students and professionals from all institutions are welcome to participate.* • Repeon is the mother of memory. But retrieval structure is its father! Mul-Integraonal Neuro-Synapc Coding - a fancy name for part of a process that can be used to specifically train and improve musical performance memory which remains a challenge for most aspiring internaonal concert pianist and recording arst as well as for the myrmidons of the musical world. As we know from the study of memory, mnemonics, it is the development of a retrieval structure that enables access to a large amount of data.