DOCSLIB.ORG

MTO 24.1 Examples: Pell, Key Profiles in Bruckner's Symphonic Expositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MTO 24.1 Examples: Pell, Key Profiles in Bruckner's Symphonic Expositions MTO 24.1 Examples: Pell, Key Profiles in Bruckner’s Symphonic Expositions (Note: audio, video, and other interactive examples are only available online) http://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.pell.html Example 1. Key Schemes of the Expositions Example 2a. Formal Precedents for Bruckner’s Key Schemes Example 2b. Schenkerian Precedents (from Der Freie Satz) for Bruckner’s Voice Leading Example 3 Bruckner VIII: Finale Opening On this level, the fourth progression is subdivided to the extent that its identity as a fourth diminishes. Middleground: Schenker discusses this phenomenon in Der freie Satz ([1935] 1979, §212 and Fig. 87,4). This subdivision allows measures 1-31 for the reinterpretation of several elements: the Bb (once a passing tone) becomes a neighbor tone, and the G recedes beneath the Bb in structural importance. Reinterpretation of this kind is implicit in several of Schenker’s concepts. A. B. C. C'. D. E. 1 11 17 25 31 4-Prg. ' bbb œ œ œ œ eœ œ œ eœ œ œ œ eœ œ œ œ eœ œ & œ œ bœ bbœ œ œ bbœ œ œ * III. IV. œ œ œ nœ œ œ œ nœ ? œ œ œ bœ œ bœ œ bœ œ bœ œ® bbb œ ˙ œ ˙ œ ˙ bbbb ˙ bbb œ ˙ œ œ ˙ bœ œ®œ Db mbaj. C min. œ & ˙ { The Ab of mm. 17–24 is composed out in the same way as Gb in the foreground. Foreground: Surface: measures 1-9 measures 3-9 F. * ' G. H. I. J. K. # # 3 4 5 6 r7 r8 r 9 # œ œ œ œ œ # j r w # œe œ œe œ œ e œ œ œ e œ œ œ e œ œ œ # C œ œ ˙™™™ œ œ™™ œœ™™ w & œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ & w wœ w ˙ œ™™ œ ˙™™™ œ œ™™ œ œ™™œ w Diatonic ff w ˙ œ™™ ™™™ ™™ ™™ etc. j ?# # ˙ ˙ ®˙ ˙ ˙ ˙ œ ˙ ?# # w wœ r r r r # œ œ œ œ œ® ˙ œ œ œ # C w ˙ œ™™ œ ˙ œ œ œ œ œ ˙ J E ˙ w wœ w ˙ ™™™ ™™ ™™ w œ™™ œ ˙™™™ œ œ™™ œ œ™™œ w F'. G'. H'. I'. J'. K'. { { 3 4 5 6 7 8 9 # # # # j r r r r w # œeœ œ œeœ œ œ eœ œ œ œ eœ œ œ œ eœ #œ œ œ # C œ #œ ˙ # œ œ # œœ w & œœ#œ œœ#œ œ œ#œ œ œ œ#œ œ œ œ#œ & w wœ w ˙ #œ™™ œ #˙™™™ œ #œ™™ œ œ™™œ #w ff w ˙# œ™™ œ # ˙™™™ œ # œ™™ œ œ™™œ Chromatic * ™™ etc. j ?# # ˙ ˙ ®˙ ˙ ˙ ˙ œ ˙ ?# # w wœ r r r r # œ œ#Eœ œ##œe®q ˙ œ #œ#œ # C w ˙ œ™™#œ #˙ œ #œ œ œ œ ˙ J E ˙ w wœ w ˙ œ ™™™ ™™ ™™ w ™™#œ #˙™™™ œ #œ™™ œ œ™™œ w * = Chromatic event. 1. Diatonic G becomes Gb in the middleground. { 2. Gb major becomes{ F# minor in the foreground. 3. F# minor reverts to F# major at the end of the passage. ≈ ‰ Œ Œ ‰Œ Œ ŒŒ Œ Œ Example 4 Bass-Line Sketches of Bruckner's Finale Expositions 1 9 11 12 16 21 24 25 33 35 36 40 45 46 65 85 95 10*7 111 131 134 · ‚ · ‚ <„> j j j j arp. ... #œ œ œ œ #œ œ nœ nœ œ œ #œ # œ < > œ < > II I ? #˙#œ ˙ bœ #œ nœ œ œ #œ nœ #œ n œ œ nœ #œ #œQ #œ #œ #œ nœ b ˙ œ J ˙ œ œ œ J œ œ # œ #˙ nœ#nœ #˙œ ˙ 5 6 6 5 nœ œ 5 6 n˙ J #˙ ˙ J 3 3 4 D ’ J 6 5 J / 0 8 J 7 ´ J / 0 I #III# II# V I# #III# / II# V0 # A: VII# V I 1 43 49 58 59 63*71 72 74 76 79 93 109113 115 1*17 123 125 135 139155 · ‚ „ · ‚ j „ œ /0 j j j j œ œ nqœ qœ œ œ œq œ bœ nœœ œ œ œ bœ bœ nœ bœ j nœbœ IV ? b ˙ œ œ œ bœ˙ bbœnœq nœ Qœ œ bœ nœ˙ bœ#œ nœ #œ b b œ ˙ ˙ œ œ Qœ œ Q œ œ nœ nœbœ bœ œ ∫œ b˙ œ œ b˙ J 5 6J 6 6-/50 8 M J´ bœ J nœ nœ J 4- 3 5 /0 J J / 0 6 ´ J / 0 I IV5 6 V Ib IV V I§ VI§ IVJ 8 M ´ II§ V 31 *57 67 71 74*81 82 83 89 93 97 * 131 · ‚ „ · ‚ „ # œ n œ nœ œ = First Theme œ œ bœ qœ # nœq nqœ #œ œ · = Second Theme V ? b b˙ œ ˙ b ˙ bQœbQœbœ # œ #nœ nœ nœ n˙ b ˙ œ ˙ œ Q nœ ‚ = Third Theme J /0’ / 0 *„ = See Appendix for I bIII V I V bIJII II§ V Detailed Graphs 1 19 29 37 39 42 47 53 6*5/97 *113 125 139 · ‚ „ · ‚ „ 5 A œ nœ j œ œ nœ #»œ nœ œ nœ bœ nœ œ V I ?# # #œ ˙ œ œ nœ œ bœ # œ œ #œ ˙ # ˙ nœ œ ˙ n˙ œ bœ œ nœ nœ œ n˙ œ J 5 Y 5 5 6 5 6 J / 0 J 3 4 3 6 5 6 5 /0 ’ I §III ´ II# V I V §III8 M ´ JII# V Dev. 1 3 8 9 10 11 *13 19 23 27 *33 3*5/65 77 7*9 80 93 1*09 117 147 163 187 191 ·^ ‚^ ^ „^ „^ Dev. 8 7 #6 n6 5’ · ‚ „ „ j 5 A j j ’ œ œ œ qQœ œ œ œ #‹œ #œ œ ‹œ j qœ œnqœ œnqœ qœ œnœ qœ q # œ ‹œ # œ #œ j œ nœ nœ œ œœ #œ œ VI I ?# ## œ œ œ nœnœ ˙ #œ œ œ#œ nœ œnœ œ œ nœ nœ #œ # œ #˙œ #œ nQœ n˙ œ #œ #œ #œ ˙ #œnœ q œ nœ J nœ˙ œn œ ìì œœœ nœ ˙ ˙ J 5 6 5 G 6 J´ 8 J / 0 J6 5 / 0 I III# IV# § V I IIJI# IV# § §VI V G F Eb see Example 3 * G F Eb 1 11 17 25 31 41 48 49 57 69 72 123 135 183 215 323 333 Dev. Dev. · ‚ „ · ‚ „ j œ j j j œ œ œ œ œ œ bœ œ œ œ œ œ œœ œ bœ œ VII I ? b œq nœ œ bh˙ œ ˙ bœ bœ nœœ œ bœ bœ œ bœ bœ bœ nœœ œ nœq bœ nœ b∫œ b œ bœ bnœœ nœ œ œ œ b b ˙ œ J œ bœ œ J œ œ bœ œ ìì #œ ˙ œ J J œ 6 5 œ ˙ œ œ J ˙ ˙4 3 J / 0 / 0 5 6 J I IV IIIb IV V bIII/III III Ib bIII/III III I§ IV III/IIIb IIJIb IV V « « « Œ Œ Œ Œ ≈ Œ Œ Œ Ó Œ ‰ ‰ Ó Œ Œ Œ Œ Ó ÓŒ ŒŒ ‰ Ó Ó Ó Œ Ó ‰ ‰ Ó Example 5 Symphony VI: Adagio (Middleground) 3^ 2^ 1^ 3^ 2^ 3^ 2^ 1^ 3^ #2^ 2^ b3^ 3^ b3^ 2^ 1^ ’ ’ ’ 3^ 2^ 3^ 2^ 1^ < > j b œ & ˙ bœ ˙ nw bœ w ˙ ˙ #œ n˙ bœ n˙ bœ ˙ ˙ ˙ œ œ #˙ n˙ b˙ bœ œ n˙ œ œ b˙ ˙ ˙ Layer 1 Layer 2 Layer 3 œ œ NJü Nü 5 j œ œ #œ œj F: Cü 4ü E ? ˙ ˙ œ bœ ˙ <œ> ˙ b˙ b ˙ œ œ ˙ ˙ bœ ˙ ˙ ˙ ˙ b˙ œ œ ˙ œ œ ˙ ˙ J / 0 / 0 / 0 / 0 J 5 6 { I V <I V> I I V I V I I VII# V bIII I <V I> bVI V I Theme: Form: · Expo. ‚ „Dev. · ‚„Recap. Coda · Exp‚o. „ Dev. · Re‚cap. „ Coda 3^ 3^ ^ ^ ^ n3^ ^ ^ ^ ^ #2 2 b3 bis 3 b3 2 1 ’ »Db: 5 6 n3^ b3^ 2^ 1^ j j &b ˙ œ œ œ˙ œ œ #œ #˙ #œ n˙ b˙ nœ bœ œ œ nœ˙ œ œ bœ œ œ n˙ b˙ ˙ ˙ Fœ: 5üü 6œ #œ n œ œ b œ b œ b œ bœ œ œ Layer 4 n œ Jj œ bœ j ? ˙ ˙ œ® #œ ˙ œ˙ bœ bœ®œ® œ bœ œ b˙ ˙ bœ œ b J b˙ bœ œ ˙ œ ˙ ˙ J bis « / 0 { I I VI VII# V bIII bVI bIII bVI IVb I I bVI V I Measure: 1 5 11 17 23 25 36 37 53 61 70 81 89 93 113 125 141 157 Form: Exposition Development Recapitulation Coda · ‚ „ · ‚ „ Œ Ó Ó Œ Œ Œ Ó™ Ó Ó Example 6 In addition to the deep middleground motive Example 5 shows A as the top voice for this passage. More A–Ab–G (see Ex. 5), these graphs highlight Symphony VI: Adagio (Foreground) locally, this A arpeggiates up to a high F. After a two- the tetrachord motive (marked with a black The drawn-out A major dominant of mm. 9–10 and pervasive half-step upper neighbors of mm. octave descent (mm. 13–21, through a neighbor G) F is asterisk) and the octave motive. 5–10 lead me to hear m. 11 as an implied D minor and the top-voice Bb as an appoggiatura. chromatically altered to F# in m. 24, where it leads to G#. 1 2 3 4 ^ 5 6 7 8 9 10 11 12 13 14 15 16 17 3 ' ' A. Arp. ^ ^ j j 2 1 œ œ ˙ œ œ œ œ G bœ œbœ bœ bœœœ bœœœ œ œ œ œœ œœ ˙ œœ˙ ˙bœ œ b œ ˙ bœ œ œ nœ nœ #œ œ œ { œ nœ œ œ & œ { œ ˙ ˙ œ œ œ œbœ œ œ ˙ œbœ œ octave œ œbœ œnœ œ bœths & motive 7 N G 6 7 œ octave motive Parallel 10 bœ œ 5 3 E T T G œ ˙ ? ˙ bœbœœ œ nœnœ ˙ #œ œ #œ ˙ œ œ œ b { œbœbœ nœ nœ ˙ ˙ #œ ˙ CS œ nœœ#œ n˙ 8 10 8 10 8 10 J The oboe’s A§ in m.
Load more

Recommended publications
  • 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.
    [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]
  • Year 11 Music Revision Guide
    Year 11 Music Revision Guidance Name the musical instrument In the exam you will be asked to name different instruments that you can hear playing. If you do not play one of these instruments it can sometimes be quite difficult to pick out what each one sounds like. You will need to know what the different instruments of the orchestra sound like, what popular musical instruments sound like and what some world instruments sound like (sitar). It is worth you visiting www.dsokids.com or www.compositionlab.co.uk where you will be able to hear these instruments individually. Describing musical sounds For some questions in the exam you will need to describe what is happening in the music, in detail! If you are asked to comment on what is happening in the music you may need to describe what a particular instrument is doing, for example: ‘The left hand of the piano is playing ascending arpeggios’. The more detail you can provide, the better! Melodic movement You may be asked to describe what is happening in the melody of a song. Remember, this means the main tune. In popular music this is often the vocal line or in instrumental music it can be described as the instrument that has the main tune (the bit that you could whistle). It could move by STEP; this means it moves to the note next to it. It could move by LEAP; this means that the melody jumps from one note to another but misses some notes out in between. This could be a low note jumping to a high note or vice versa.
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]
  • Music for a While’ (For Component 3: Appraising)
    H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner.
    [Show full text]
  • Figured-Bass.Pdf
    Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord.
    [Show full text]
  • Figured-Bass Notation
    MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth.
    [Show full text]
  • Teaching Tuba Students to Be Complete Musicians Brandon E
    The University of Akron IdeaExchange@UAkron The Dr. Gary B. and Pamela S. Williams Honors Honors Research Projects College Fall 2017 Teaching Tuba Students to be Complete Musicians Brandon E. Cummings [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/honors_research_projects Part of the Educational Methods Commons, Music Education Commons, and the Music Pedagogy Commons Recommended Citation Cummings, Brandon E., "Teaching Tuba Students to be Complete Musicians" (2017). Honors Research Projects. 577. http://ideaexchange.uakron.edu/honors_research_projects/577 This Honors Research Project is brought to you for free and open access by The Dr. Gary B. and Pamela S. Williams Honors College at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Honors Research Projects by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Running head: TEACHING TUBA STUDENTS TO BE COMPLETE MUSICIANS 1 Teaching Tuba Students to be Complete Musicians Brandon E. Cummings The University of Akron TEACHING TUBA STUDENTS TO BE COMPLETE MUSICIANS 2 Abstract The goal of music educators is to develop complete musicians who successfully learn and perform all musical concepts. One of the limitations of the band classroom is that performers are required to play a part that is specifically written with the needs of the ensemble in mind, and not the needs of the developing musician.
    [Show full text]
  • Intro Pdf. Version
    Vertical Harmony Concepts The purpose of this book is to familiarize the bassist with chord structures and to enhance his ability to solo intelligently and effectively. While many of these concepts can be applied to bass lines and fills, these exercises will focus more on soloing. The words "horn-like" are often used to describe solos that are fluid and graceful. To achieve this type of description, one needs to listen to, practice, transcribe and ultimately understand what a soloist is playing. The first step to understanding is knowing chord structures. As bassists, we typically aren't called upon to play chords. So why even know them? That is the question I get from many of my beginning students. Or, "just tell me the root, I'll figure it out from there" which usually means "I'll plod along on the root." We bassists are not only responsible for holding things together rhythmically; we are also the keepers of the harmony. If you don't understand how chords are constructed, how are you going to hold things together? Let alone solo? Playing root notes will only get you so far. Fortunately, knowing what it takes to construct a chord is easy, and by knowing the construction (quality), you should never play a "wrong" note. Intervals are what make up any type of musical structure. Everything you play will involve intervals. An understanding of intervals is essential for understanding music. An interval is the distance between two notes. In Western music there are twelve intervals. Each interval has a numerical identity.
    [Show full text]
  • Automatic Transcription of Bass Guitar Tracks Applied for Music Genre Classification and Sound Synthesis
    Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) vorlelegt der Fakultät für Elektrotechnik und Informationstechnik der Technischen Universität Ilmenau von Dipl.-Ing. Jakob Abeßer geboren am 3. Mai 1983 in Jena Gutachter: Prof. Dr.-Ing. Gerald Schuller Prof. Dr. Meinard Müller Dr. Tech. Anssi Klapuri Tag der Einreichung: 05.12.2013 Tag der wissenschaftlichen Aussprache: 18.09.2014 urn:nbn:de:gbv:ilm1-2014000294 ii Acknowledgments I am grateful to many people who supported me in the last five years during the preparation of this thesis. First of all, I would like to thank Prof. Dr.-Ing. Gerald Schuller for being my supervisor and for the inspiring discussions that improved my understanding of good scientific practice. My gratitude also goes to Prof. Dr. Meinard Müller and Dr. Anssi Klapuri for being available as reviewers. Thank you for the valuable comments that helped me to improve my thesis. I would like to thank my former and current colleagues and fellow PhD students at the Semantic Music Technologies Group at the Fraunhofer IDMT for the very pleasant and motivating working atmosphere. Thank you Christian, Holger, Sascha, Hanna, Patrick, Christof, Daniel, Anna, and especially Alex and Estefanía for all the tea-time conversations, discussions, last-minute proof readings, and assistance of any kind. Thank you Paul for providing your musicological expertise and perspective in the genre classification experiments. I also thank Prof. Petri Toiviainen, Dr. Olivier Lartillot, and all the collegues at the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä for a very inspiring research stay in 2010.
    [Show full text]
  • Intro to Figured Bass
    Introduction to Figured Bass Figured bass symbols describe the vertical structure of the chord! The bass is the foundation of harmonic structure. Figured bass symbols are used to indicate the bass positions of chords. The practice is derived from Baroque keyboard music where the player read from a part consisting of a bass line and some numerical symbols that indicated what chord was to be played. It was shorthand and, consequently, allowed an element of improvisation to enter the performance. The figured bass symbols represent intervals above the bass. The notes obtained by these intervals may be played in any octave. The figured bass does not indicate open or closed spacing. The system deals only with intervals (During its period of invention, the theory of chords was not yet invented). Figured bass was used as a means to notate improvisations, teach composition, and was the fundamental means by which composers such as Haydn, Mozart, and Beethoven learned their craft. The following example illustrates the figured bass symbols for triads and their inversions only. Ex. 1 (a) (b) (c) 5 6 6 3 3 4 (root position) (1st inversion) (2nd inversion) The numbers in the above example represent the "general interval" from the lowest note in each chord to each upper note. The general interval, as you may recall, is simply the number of letter names from one pitch to another (remember to count the starting pitch as 1). In (a), C-E is a 3rd, C-G is a 5th, hence the 5/3 figured bass symbol. It is important to know that each figured bass number represents an interval above the bass.
    [Show full text]
  • Chapter 7 – Walking Bass Note Melodies
    Chapter 7 – Walking Bass Note Melodies To be completely honest, the concept of adding walking bass notes is much easier than you might think. What you’ll be looking for here are possible notes that match the chord you are working with using the notes found within a chord in various positions. There ARE other ways to do this, but I’ve found this is the easiest and still usually provides a nice series of walking bass notes. Step 1 – Find our chord tones, in other words – the notes that are required to form the chord in question. Let’s use the Am7 chord as one chord. We’ll be playing it like this though: 5x5555 Step 2 – We need to know our major scales. If you don’t know the major scales, don’t panic. I include them for you. The first thing we are going to do is develop walking bass lines using only the chord tones, or notes required in a progression. Our progression is going to be Am7 to D9 because they aren’t too familiar. D9 in this case is played like this: x5455x Because we are only working with the triad tones, we will be using the 1st, 3rd, and 5th tones. Back to our first step. We need to know the chord tones of both Am7 and D9. Am7 is A, G, C, and E. However, we just need to use the 1st, 3rd, and 5th tones. Those would be the A, C, and E. D9 is D, F#/Gb, C, E, and A .
    [Show full text]