Rhythmic Foundation and Accompaniment
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Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
Realguitar 5 User's Manual
REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard .......................................................................................................................................................... -
Kyser Banjo-Mandolin Capo, KBMB,Kyser KG6B 6-String Guitar
Kyser Banjo-Mandolin Capo, KBMB Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. This Kyser® Quick-Change® is expertly engineered and built to last. It is reliable and does just what it is designed to do — clearly raise the pitch of the banjo so you can play in a different key without retuning or changing fingering. Seasoned professionals and beginning players alike appreciate how the Kyser® Quick-Change® helps them transpose their banjo in seconds, with only one hand. The beauty of the Kyser® Quick-Change® is in its simplicity. We pioneered this design and although often imitated, a Kyser® is never equaled. There is no substitute for a Kyser® Quick-Change®. UPC 00009265014104 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser KG6B 6-String Guitar Capo, Black Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Kyser 6-String Guitar Capo, Black, KG6B UPC 00009265016108 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser KG6G 6-String Guitar Capo, Gold Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Kyser 6-String Guitar Capo, Gold, KG6G UPC 00009265016207 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser Lifeguard Classical Guitar Humidifier System KLHC Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Description: Your acoustic and classical guitars deserve to be protected.They are investments that require steps to ensure their value grows over time. -
Cantos De Soledades Y Cantes Por Soleares: Análisis Filológico
http://dx.doi.org/10.12795/PH.1989.v04.i02.01 CANTOS DE SOLEDADES Y CANTES POR SOLEARES: ANÁLISIS FILOLÓGICO Miguel Ropero Núñez Universidad de Sevilla 1. Introducción. El primer y más prestigioso flamencólogo que conocemos fue, sin duda, An tonio Machado y Álvarez «Demofilo», padre de Antonio y Manuel. No podemos descartar que el saber flamenco de Demófilo ejerciera una importante influencia en el pensamiento y obra de sus hijos. Manuel Machado tiene un libro de poemas dedicado al cante y Antonio titula «Cante Hondo» un poema en el que capta ma- ravillosamente la esencia del arte flamenco . · Este poema de A. Machado «Cante Hondo» aparece con el número XIV en un librito que él titula Soledades'· Quizá alguien podría pensar que existe una cierta relación semántica entre «Cante Hondo» y Soledades, ya que uno de los cantes básicos del arte gitano-andaluz es la Soleá. R. Ferreres, en el Prólogo a su edición de este libro de A. Machado, insinúa que el nombre de la copla «so leá» pudo muy bien sugerirle el título «Soledades»: «También tenía a mano, muy a mano, la copla popular: La Soleá, de las que su padre recogió buen número; tanto él como Manuel escribirán algunas» 2• Con estos datos podríamos concluir que Soledades es el título flamenco de este libro de Antonio Machado, que tiene, además, un poema dedicado expresa- I Nuestra cita corresponde a la edición de la Col. Universal, publicada en Madrid en 1919. Se gún indica el mismo A. Machado en el Prólogo, «este libro se publicó en 1907, y no es más que una segunda edición con adiciones, poco esenciales, del libro Soledades, dado a la estampa en 1903», (págs. -
La Cantiña De Los Caracoles a La Luz Del «Método Para La Enseñanza Del Solfeo Y De La Guitarra» De Francisco Sánchez Roda (1850)
DIALNET, RILM, MIAR LA CANTIÑA DE LOS CARACOLES A LA LUZ DEL «MÉTODO PARA LA ENSEÑANZA DEL SOLFEO Y DE LA GUITARRA» DE FRANCISCO SÁNCHEZ RODA (1850) GUILLERMO CASTRO BUENDÍA Centro de Investigación Telethusa Resumen El cante flamenco de Los Caracoles integra en su estructura musical diferentes cantiñas. Una de ellas es un pregón final en el que se anuncia la venta de caracoles, el cual bautiza el estilo. El recientemente descubierto método de guitarra de Francisco Sánchez Roda de 1850 incorpora una nueva fuente musical, la más antigua hasta ahora conocida, algo que obliga a una nueva revisión histórica. Palabras clave: Caracoles, Chacón, Cantiñas, Pregón, Francisco Sánchez Roda. Abstract The flamenco song of Los Caracoles has in its musical structure different “cantiñas”. One of them is a final proclamation announcing the sale of snails. The recently discovered guitar method of Francisco Sánchez Roda, from 1850, incorporates a new musical source, the oldest known until now. This new source forces a new historical revision. Keywords: Caracoles, Chacón, Cantiñas, Proclamation, Francisco Sánchez Roda. Fecha de recepción: 27/12/2018 Fecha de publicación: 01/01/2019 SINFONÍA VIRTUAL · EDICIÓN 36 · Invierno 2019 1 ISSN 1886-9505 –www.sinfoniavirtual.com La cantiña de Los caracoles a la luz del «Método para la enseñanza del solfeo y de la guitarra» de Francisco Sánchez Roda (1850) Introducción El cante flamenco de Los Caracoles integra en su estructura musical diferentes cantiñas. Una de ellas es un pregón final en el que se anuncia la venta de caracoles, el cual bautiza el estilo. En un trabajo anterior1 realizamos un completo estudio de análisis histórico-musical en el que mostrábamos los antecedentes más antiguos que habíamos localizado. -
Las Letras Primitivas De Los Cantes a Palo Seco, Tonás Y Martinetes: Romances Narrativos Sobre La Prisión General De Los Gitanos
Cultura, lenguaje y representación / Culture, Language and Representation (Universitat Jaume I) 89 Homann, F. (2020): Las letras primitivas de los cantes a palo seco, tonás y martinetes: romances narrativos sobre la Prisión General de los Gitanos. Cultura, Lenguaje y Representación, Vol. XXIV, 89–104 ISSN 1697-7750 · e-ISSN 2340-4981 DOI: http://dx.doi.org/10.6035/clr.2020.24.5 Las letras primitivas de los cantes a palo seco, tonás y martinetes: romances narrativos sobre la Prisión General de los Gitanos The primitive lyrics of A cappella songs, tonás and martinetes: narrative romances about the Great Gypsy Round-up FLORIAN HOMANN UNIVERSITÄT ZU KÖLN/UNIVERSITÄT MÜNSTER ______________________________________________________________________ Artículo recibido el / Article received: 2020-03-31 Artículo aceptado el / Article accepted: 2020-06-12 RESUMEN: En el mundo flamenco, existe la suposición de que los cantes flamencos contienen unas letras esencialmente líricas que no narran, sin embargo, hay ciertas modalidades, como los cantes a palo seco denominados tonás y martinetes, cuyos soportes literarios derivan de textos más largos y narrativos. Para demostrar que esta consideración es el resultado de un largo proceso de transformación, se analizan los escritos sobre tonás y martinetes y se compara el contenido de sus coplas con las descripciones de ciertos hechos históricos. En múltiples casos coinciden los fragmentos, aunque sean muy breves, con determinados acontecimientos reales, lo que se puede interpretar como un indicio de que las letras efectivamente derivan de unos textos de romances noticiosos, narrando sobre asuntos carcelarios y la persecución de los gitanos. Uno de los hechos concretos constituye la Prisión General de los Gitanos, realizada en 1749, incluyendo su preparación y sus consecuencias. -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
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. -
Flamenco Music Theory Pdf
Flamenco music theory pdf Continue WHAT YOU NEED TO KNOW:1) Andalusian Cadence is a series of chords that gives flamenco music its characteristic sound: In Music, a sequence of notes or chords consisting of the closing of the musical phrase: the final cadences of the Prelude.3) This progression of chords consists of i, VII, VI and V chords of any insignificant scale, Ending on V chord.4) The most commonly used scale for this chord progression is the Harmonic minor scale (in C minor: B C D E F G))5) The most common keys in flamenco are the Frigian, known as Por Medio in flamenco guitar, and consisting of Dm, C, Bb. Another common key is E Phrygian, known as Por Arriba on Flamenco guitar, and consisting of Am, G, F, E. E Phrygian (Por Arriba) is often used in Solea and Fandangos Del Huelva.THE ANDALUSIAN CADENCE: Today we will discuss really common chords and sound in flamenco: Andalus Cadens! Learning more about this sound will help the audience better appreciate flamenco music, provide flamenco dancers with a better understanding of the music that accompanies them, and non-flamenco musicians some basic theory to incorporate flamenco sounds into their music. At this point, if you want to skip the theory and just listen, go to LISTENING: ANDALUSIAN CADENCE IN THE WORLD. I would recommend reading the pieces of the theory just for some context. MUSIC THEORY: CHORD PROGRESSIONThic series of four chords is so ubiquitous in flamenco that anyone who listens to it should know it when they hear it. -
Beethoven Quartet Opus 59 #2
! Reprintable only with permission from the author. Beethoven Quartet opus 59 #2 Beethoven’s friend and student Carl Czerny reported that the second movement of the master’s e minor string quartet, Op. 59 No. 2, was inspired by contemplation of the starry firmament and the music of the spheres. Increasingly alienated from quotidian society, hermetically trapped by his increasing deafness, Beethoven by 1808 considered that his artistic mission would be fulfilled only in conscious transcendence of the physical and the mundane. One can easily imagine how thoughts of the supernal music would feed his sense of awe, beauty and possibility in contrast with the earthly woes of mankind. A symbol of looking beyond, the Molto adagio evokes wonderment and songful rapture in its long, spun-out melodic arches and the radiance of its E Major tonality. Alongside the sustained singing is an evocation of the rotating celestial spheres as a sort of musical clock, a mechanical ticking away underlying the pulchritudinous harmonies.This trochaic rhythm appears in multiple guises, both machine-like and human, ranging from objective to hyper-expressive and vulnerable. It is as if Beethoven cannot help being in awe at once of the infinite grandeur of it all and of the clockmaker himself, of the power and precision of creation. The quartets of Op. 59 belong to the period of Beethoven’s expanding forms, his experimentation with the creation of universes of his own. These are structured so as to cohere not organically but rather by design, labyrinthine explorations steered by conscious reasoning, a human counterpart to the music of the spheres. -
Download Booklet
CHAN 10190 Front.qxd 31/1/07 10:41 am Page 1 CHAN 10190 CHANDOS CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 2 Gioachino Antonio Rossini (1792 – 1868) Complete Piano Edition, Volume 1 premiere recordings Unpublished Works 1 Valzer in mi bemolle maggiore (Firenze, 1 ottobre 1849) 2:13 in E flat major • in Es-Dur • en mi bémol majeur 2 Thème 2:59 Lebrecht Collection Lebrecht in E flat major • in Es-Dur • en mi bémol majeur • en mi bemolle maggiore 3 Allegretto 0:31 4 Scherzo in la minore (Firenze, 28 luglio 1850) 3:44 in A minor • in a-Moll • en la mineur 5 Un rien (Passy, 1861) 0:47 Andantino From Péchés de vieillesse, Book 3 ‘Morceaux réservés’ 9:19 5 Gammes – des montées et des descentes (rising and falling scales) Deux gammes chinoises, suivies d’une mélodie analogue (Chinese scales followed by a corresponding melody) 6 A. Première montée et descente (montée) 0:47 7 A. Première montée et descente (descente) 1:27 8 B. Deuxième montée et descente (montée) 0:32 9 B. Deuxième montée et descente (descente) 0:42 10 C. Première gamme chinoise, montante et descendante 0:49 Gioachino Antonio Rossini 11 D. Deuxième gamme chinoise, montante et descendante 0:43 12 E. L’Amour à Pékin (Mon cœur blessé): petite mélodie sur la gamme chinoise (Love in Peking [My wounded heart]: little melody on the Chinese scale) 4:00 in A major • in A-Dur • en la majeur • in la maggiore Marina De Liso contralto 3 CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 4 Rossini: Complete Piano Edition, Volume 1 From Péchés de vieillesse, Book 9 ‘Album pour piano, Enigmatic and problematic, Rossini’s piano which Rossini kept his ‘péchés de vieillesse’ violon, violoncelle, harmonium et cor’ 54:39 music requires significantly more than the (sins of old age) reopened, it is perhaps the 13 1 Mélodie candide, QR xvi/67-73 4:06 cursory glance at the black dots on the page very place we should look to solve the many in A major • in A-Dur • en la majeur • in la maggiore often used by pianists to judge a work’s mysteries of the composer’s personality. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world.