Infants' and Adults' Perception of Scale Structure
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Chords and Scales 30/09/18 3:21 PM
Chords and Scales 30/09/18 3:21 PM Chords Charts written by Mal Webb 2014-18 http://malwebb.com Name Symbol Alt. Symbol (best first) Notes Note numbers Scales (in order of fit). C major (triad) C Cmaj, CM (not good) C E G 1 3 5 Ion, Mix, Lyd, MajPent, MajBlu, DoHar, HarmMaj, RagPD, DomPent C 6 C6 C E G A 1 3 5 6 Ion, MajPent, MajBlu, Lyd, Mix C major 7 C∆ Cmaj7, CM7 (not good) C E G B 1 3 5 7 Ion, Lyd, DoHar, RagPD, MajPent C major 9 C∆9 Cmaj9 C E G B D 1 3 5 7 9 Ion, Lyd, MajPent C 7 (or dominant 7th) C7 CM7 (not good) C E G Bb 1 3 5 b7 Mix, LyDom, PhrDom, DomPent, RagCha, ComDim, MajPent, MajBlu, Blues C 9 C9 C E G Bb D 1 3 5 b7 9 Mix, LyDom, RagCha, DomPent, MajPent, MajBlu, Blues C 7 sharp 9 C7#9 C7+9, C7alt. C E G Bb D# 1 3 5 b7 #9 ComDim, Blues C 7 flat 9 C7b9 C7alt. C E G Bb Db 1 3 5 b7 b9 ComDim, PhrDom C 7 flat 5 C7b5 C E Gb Bb 1 3 b5 b7 Whole, LyDom, SupLoc, Blues C 7 sharp 11 C7#11 Bb+/C C E G Bb D F# 1 3 5 b7 9 #11 LyDom C 13 C 13 C9 add 13 C E G Bb D A 1 3 5 b7 9 13 Mix, LyDom, DomPent, MajBlu, Blues C minor (triad) Cm C-, Cmin C Eb G 1 b3 5 Dor, Aeo, Phr, HarmMin, MelMin, DoHarMin, MinPent, Ukdom, Blues, Pelog C minor 7 Cm7 Cmin7, C-7 C Eb G Bb 1 b3 5 b7 Dor, Aeo, Phr, MinPent, UkDom, Blues C minor major 7 Cm∆ Cm maj7, C- maj7 C Eb G B 1 b3 5 7 HarmMin, MelMin, DoHarMin C minor 6 Cm6 C-6 C Eb G A 1 b3 5 6 Dor, MelMin C minor 9 Cm9 C-9 C Eb G Bb D 1 b3 5 b7 9 Dor, Aeo, MinPent C diminished (triad) Cº Cdim C Eb Gb 1 b3 b5 Loc, Dim, ComDim, SupLoc C diminished 7 Cº7 Cdim7 C Eb Gb A(Bbb) 1 b3 b5 6(bb7) Dim C half diminished Cø -
Construction and Verification of the Scale Detection Method for Traditional Japanese Music – a Method Based on Pitch Sequence of Musical Scales –
International Journal of Affective Engineering Vol.12 No.2 pp.309-315 (2013) Special Issue on KEER 2012 ORIGINAL ARTICLE Construction and Verification of the Scale Detection Method for Traditional Japanese Music – A Method Based on Pitch Sequence of Musical Scales – Akihiro KAWASE Department of Corpus Studies, National Institute for Japanese Language and Linguistics, 10-2 Midori-cho, Tachikawa City, Tokyo 190-8561, Japan Abstract: In this study, we propose a method for automatically detecting musical scales from Japanese musical pieces. A scale is a series of musical notes in ascending or descending order, which is an important element for describing the tonal system (Tonesystem) and capturing the characteristics of the music. The study of scale theory has a long history. Many scale theories for Japanese music have been designed up until this point. Out of these, we chose to formulate a scale detection method based on Seiichi Tokawa’s scale theories for traditional Japanese music, because Tokawa’s scale theories provide a versatile system that covers various conventional scale theories. Since Tokawa did not describe any of his scale detection procedures in detail, we started by analyzing his theories and understanding their characteristics. Based on the findings, we constructed the scale detection method and implemented it in the Java Runtime Environment. Specifically, we sampled 1,794 works from the Nihon Min-yo Taikan (Anthology of Japanese Folk Songs, 1944-1993), and performed the method. We compared the detection results with traditional research results in order to verify the detection method. If the various scales of Japanese music can be automatically detected, it will facilitate the work of specifying scales, which promotes the humanities analysis of Japanese music. -
Harmonic Structures and Their Relation to Temporal Proportion in Two String Quartets of Béla Bartók
Harmonic structures and their relation to temporal proportion in two string quartets of Béla Bartók Item Type text; Thesis-Reproduction (electronic) Authors Kissler, John Michael 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 02/10/2021 22:08:34 Link to Item http://hdl.handle.net/10150/557861 HARMONIC STRUCTURES AND THEIR RELATION TO TEMPORAL PROPORTION IN TWO STRING QUARTETS OF BELA BARTOK by John Michael Kissler A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of . MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript.in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. -
Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College
Claremont Colleges Scholarship @ Claremont All HMC Faculty Publications and Research HMC Faculty Scholarship 8-1-2012 Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College Recommended Citation Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 This Article is brought to you for free and open access by the HMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in All HMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Consonance and Dissonance in Visual Music Bill Alves Organised Sound / Volume 17 / Issue 02 / August 2012, pp 114 - 119 DOI: 10.1017/S1355771812000039, Published online: 19 July 2012 Link to this article: http://journals.cambridge.org/abstract_S1355771812000039 How to cite this article: Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 134.173.130.244 on 24 Jul 2014 Consonance and Dissonance in Visual Music BILL ALVES Harvey Mudd College, The Claremont Colleges, 301 Platt Blvd, Claremont CA 91711 USA E-mail: [email protected] The concepts of consonance and dissonance broadly Plato found the harmony of the world in the Pythag- understood can provide structural models for creators of orean whole numbers and their ratios, abstract ideals visual music. -
Major and Minor Scales Half and Whole Steps
Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
When the Leading Tone Doesn't Lead: Musical Qualia in Context
When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony. -
HOW to FIND RELATIVE MINOR and MAJOR SCALES Relative
HOW TO FIND RELATIVE MINOR AND MAJOR SCALES Relative minor and major scales share all the same notes–each one just has a different tonic. The best example of this is the relative relationship between C-major and A-minor. These two scales have a relative relationship and therefore share all the same notes. C-major: C D E F G A B C A-minor: A B C D E F G A Finding the relative minor from a known major scale (using the 6th scale degree) scale degrees: 1 2 3 4 5 6 7 1 C-major: C D E F G A B C A-(natural) minor: A B C D E F G A A-minor starts on the 6th scale degree of C-major. This relationship holds true for ALL major and minor scale relative relationships. To find the relative minor scale from a given major scale, count up six scale degrees in the major scale–that is where the relative minor scale begins. This minor scale will be the natural minor mode. 1 2 3 4 5 6 C-D-E-F-G-A The relative minor scale can also be found by counting backwards (down) by three scale degrees in the major scale. C-major: C D E F G A B C ←←← count DOWN three scale degrees and arrive at A 1 2 3 C-B-A Finding the relative major from a known minor scale (using the 3rd scale degree) scale degrees: 1 2 3 4 5 6 7 1 A-(natural) minor: A B C D E F G A C-major: C D E F G A B C C-major starts on the 3rd scale of A-minor. -
The Unexpected Number Theory and Algebra of Musical Tuning Systems Or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72
The Unexpected Number Theory and Algebra of Musical Tuning Systems or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72 Matthew Hawthorn \Music is the pleasure the human soul experiences from counting without being aware that it is counting." -Gottfried Wilhelm von Leibniz (1646-1716) \All musicians are subconsciously mathematicians." -Thelonius Monk (1917-1982) 1 Physics In order to have music, we must have sound. In order to have sound, we must have something vibrating. Wherever there is something virbrating, there is the wave equation, be it in 1, 2, or more dimensions. The solutions to the wave equation for any given object (string, reed, metal bar, drumhead, vocal cords, etc.) with given boundary conditions can be expressed as a superposition of discrete partials, modes of vibration of which there are generally infinitely many, each with a characteristic frequency. The partials and their frequencies can be found as eigenvectors, resp. eigenvalues of the Laplace operator acting on the space of displacement functions on the object. Taken together, these frequen- cies comprise the spectrum of the object, and their relative intensities determine what in musical terms we call timbre. Something very nice occurs when our object is roughly one-dimensional (e.g. a string): the partial frequencies become harmonic. This is where, aptly, the better part of harmony traditionally takes place. For a spectrum to be harmonic means that it is comprised of a fundamental frequency, say f, and all whole number multiples of that frequency: f; 2f; 3f; 4f; : : : It is here also that number theory slips in the back door. -
250 + Musical Scales and Scalecodings
250 + Musical Scales and Scalecodings Number Note Names Of Notes Ascending Name Of Scale In Scale from C ScaleCoding Major Suspended 4th Chord 4 C D F G 3/0/2 Major b7 Suspend 4th Chord 4 C F G Bb 3/0/3 Major Pentatonic 5 C D E G A 4/0/1 Ritusen Japan, Scottish Pentatonic 5 C D F G A 4/0/2 Egyptian \ Suspended Pentatonic 5 C D F G Bb 4/0/3 Blues Pentatonic Minor, Hard Japan 5 C Eb F G Bb 4/0/4 Major 7-b5 Chord \ Messiaen Truncated Mode 4 C Eb G Bb 4/3/4 Minor b7 Chord 4 C Eb G Bb 4/3/4 Major Chord 3 C E G 4/34/1 Eskimo Tetratonic 4 C D E G 4/4/1 Lydian Hexatonic 6 C D E G A B 5/0/1 Scottish Hexatonic 6 C D E F G A 5/0/2 Mixolydian Hexatonic 6 C D F G A Bb 5/0/3 Phrygian Hexatonic 6 C Eb F G Ab Bb 5/0/5 Ritsu 6 C Db Eb F Ab Bb 5/0/6 Minor Pentachord 5 C D Eb F G 5/2/4 Major 7 Chord 4 C E G B 5/24/1 Phrygian Tetrachord 4 C Db Eb F 5/24/6 Dorian Tetrachord 4 C D Eb F 5/25/4 Major Tetrachord 4 C D E F 5/35/2 Warao Tetratonic 4 C D Eb Bb 5/35/4 Oriental 5 C D F A Bb 5/4/3 Major Pentachord 5 C D E F G 5/5/2 Han-Kumo? 5 C D F G Ab 5/23/5 Lydian, Kalyan F to E ascending naturals 7 C D E F# G A B 6/0/1 Ionian, Major, Bilaval C to B asc. -
ANNEXURE Credo Theory of Music Training Programme GRADE 5 by S
- 1 - ANNEXURE Credo Theory of Music training programme GRADE 5 By S. J. Cloete Copyright reserved © 2017 BLUES (JAZZ). (Unisa learners only) WHAT IS THE BLUES? The Blues is a musical genre* originated by African Americans in the Deep South of the USA around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals and folk music. The first appearance of the Blues is often dated to after the ending of slavery in America. The slavery was a sad time in history and this melancholic sound is heard in Blues music. The Blues, ubiquitous in jazz and rock ‘n’ roll music, is characterized by the call-and- response* pattern, the blues scale (which you are about to learn) and specific chord progressions*, of which the twelve-bar blues* is the most common. Blue notes*, usually 3rds or 5ths flattened in pitch, are also an essential part of the sound. A swing* rhythm and walking bass* are commonly used in blues, country music, jazz, etc. * Musical genre: It is a conventional category that identifies some music as belonging to a shared tradition or set of conventions, e.g. the blues, or classical music or opera, etc. They share a certain “basic musical language”. * Call-and-response pattern: It is a succession of two distinct phrases, usually played by different musicians (groups), where the second phrase is heard as a direct commentary on or response to the first. It can be traced back to African music. * Chord progressions: The blues follows a certain chord progression and the th th 7 b harmonic 7 (blues 7 ) is used much of the time (e.g. -
The Major Scale Music Sounds the Way It Does Has to Do with the Group of Notes the Composer Decided to Use
music theory for musicians and normal people by toby w. rush one of the reasons that a particular piece of The Major Scale music sounds the way it does has to do with the group of notes the composer decided to use. 2 2 , 17 bach na e bachr a magdal ian jo t a ann bas m G for se n i ann ook oh eb inuett j M no œ#œ œ œ œ œ œ &43 œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. take this melody, for example... let’s first remove all the duplicate notes, regardless of which octave they’re in. œ#œ œ &43 œ œ œ œ next, let’s put the notes in alphabetical order, œ #œ œ starting on the note œ #œ œ œ œ œ that the melody sounded œ œ œ œ like it was centering on. œ œ what we end up with there are actually many is the for “palette” different types of scales, this particular piece... each with a different pattern of whole steps and half steps. œ œ œ #œ œ œ œ œ a half step is the distance between like the board on which a painter holds two adjacent keys the bits of paint being used in the painting on the piano keyboard, being created. regardless of color. in music, this “palette” is called a scale. though we usually write scales from low to high, the order is actually unimportant; it’s the notes contained in the scale that help make a piece sound the way it does.