Chords, Scales, Arpeggios & Picking
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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. -
Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting
Naming a Chord Once you know the common names of the intervals, the naming of chords is a little less daunting. Still, there are a few conventions and short-hand terms that many musicians use, that may be confusing at times. A few terms are used throughout the maze of chord names, and it is good to know what they refer to: Major / Minor – a “minor” note is one half step below the “major.” When naming intervals, all but the “perfect” intervals (1,4, 5, 8) are either major or minor. Generally if neither word is used, major is assumed, unless the situation is obvious. However, when used in naming extended chords, the word “minor” usually is reserved to indicate that the third of the triad is flatted. The word “major” is reserved to designate the major seventh interval as opposed to the minor or dominant seventh. It is assumed that the third is major, unless the word “minor” is said, right after the letter name of the chord. Similarly, in a seventh chord, the seventh interval is assumed to be a minor seventh (aka “dominant seventh), unless the word “major” comes right before the word “seventh.” Thus a common “C7” would mean a C major triad with a dominant seventh (CEGBb) While a “Cmaj7” (or CM7) would mean a C major triad with the major seventh interval added (CEGB), And a “Cmin7” (or Cm7) would mean a C minor triad with a dominant seventh interval added (CEbGBb) The dissonant “Cm(M7)” – “C minor major seventh” is fairly uncommon outside of modern jazz: it would mean a C minor triad with the major seventh interval added (CEbGB) Suspended – To suspend a note would mean to raise it up a half step. -
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. -
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. -
MI-Student-Handbook.Pdf
STUDENT HANDBOOK 2018-2019 email [email protected] toll free 800. 255.PLAY fax 323.468.9920 web mi.edu last updated 12/2018 page 1 CONTENTS Campus Locations .............................................................................. 3 Copyright Infringement Policy .................................................... 41 Introduction ................................................................................................................................... 41 Campus Offices, Departments, and Staff ........................ 3 Plans to “Effectively Combat” The Unauthorized Campus Affairs ................................................................... 3 Distribution of Copyrighted Materials ................................................................ 42 Academic Affairs .................................................................................................... 3 Sanctions ........................................................................................................................................ 42 Senior Academic Leadership ............................................................................. 3 Maintenance of This Plan ............................................................................................... 43 Program Chairs ....................................................................................................... 3 Academic Support Staff ................................................................................... 4 Student Guest Policy ................................................................... -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
Taking the ACT Test—State and District Testing
Fall 2018 Taking the ACT® Test State Testing and District Testing This information booklet is for all students taking the ACT® test through ACT State or District testing. Keep this booklet for future reference; do not return it to ACT or the school. www.act.org *A01106519A* recognize your strengths and areas where Where to Find it you need to improve, whether you intend What You Need to to go to college or enter the workplace after Checklist for Taking the ACT 2 high school. Know to Take the ACT Calculators 2 Your ACT results can help you begin the General Information career exploration and planning process. It This booklet gives you the information you Completing Your Non-Test is likely that nearly everyone who graduates need to take the ACT. You will complete 9 Information from high school will eventually have to non-test information during a scheduled, continue their education to achieve their supervised session at school before the High School Course/Grade career or life goals. Information 10 test date. On test day, you will record your The ACT includes multiple-choice responses to the tests. Score reports will Student Profile Section 11 tests in English, mathematics, reading, normally be mailed about 3–8 weeks after and science. The tests measure your we receive your test data. Interest Inventory 14 educational development in those areas Receiving and Sending Your and are based on what you have learned— Test Accommodations and they are not aptitude or IQ tests. Scores 28 English Learner Supports If your state or district is administering If you receive test accommodations and/or the ACT with writing, you will also take English learner supports in school as part a writing test, for which you will write of your Individualized Education Program an essay in English. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Mission Statement
1 MISSION STATEMENT Musicians Institute’s Guitar Craft Academy Nashville is dedicated to inspiring excellence in the art of guitar building and design, while preparing students for careers in the music industry. By providing hands-on instruction from top professionals in a state-of-the-art educational environment, we give students the skills necessary to achieve their goals. We strive to develop a diverse array of talented individuals who can enrich the global community by contributing their expertise and craftsmanship. 1 NOTICE MUSICIANS INSTITUTE NO GUARANTEE OF EMPLOYMENT GUITAR CRAFT ACADEMY NASHVILLE While Musicians Institute provides no guarantee that 5000 Harding Place employment will result from attending or completing any Nashville, TN 37211 program offered by the institution, we are dedicated to 800-255-7529 (Toll Free) assisting students in finding professional opportunities. 323-462-1384 (Local & International) For more information on our Student Support Center, visit nashville.mi.edu. For more information about our As a prospective student, you are encouraged to review graduation rates, the median debt of students who this catalog prior to signing an enrollment agreement. It completed the program, and other important information, is the responsibility of the student to know and adhere please visit our website at nashville.mi.edu. to the policies and rules included in this catalog. You are also encouraged to review the School Performance Fact Sheet, which will be provided to you prior to signing an QUESTIONS AND COMPLAINTS enrollment agreement. Questions, grievances and complaints regarding the institution may be directed to: Institutional Director FACULTY QUALIFICATIONS Musicians Institute Guitar Craft Academy, Nashville In keeping with Musicians Institute’s mission, MI recognizes 5000 Harding Place the importance of real-world music industry experience Nashville , TN 37211 and academic credentials in our teaching positions. -
New Grade 7 LB 2016-2017.Indd
COURSE 35 Theory Homework 289 C Label a four-note, C chord arpeggio stacked in 3rds and a 4th. t inan ant n Term: bdom u Write the secondary chords. Tonic S Domi C Dm Em F G Am B C Dm Em Am B Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note. Write in the missing terms: supertonic, mediant, submediant, leading tone and tonic. Write the missing numerals: ii iii vi vii I. Write the missing sol-fa: re mi la ti do. Theory Homework 290 D Label a four-note, Dm chord arpeggio stacked in 3rds and a 4th. Term: Write the secondary chords. onic T Subdominant Dominant G Am Bm C D Em F# G Am Bm Em F# Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note. Write in the missing terms: supertonic, mediant, submediant, leading tone and tonic. Write the missing numerals: ii iii vi vii I. Write the missing sol-fa: re mi la ti do. Theory Homework 291 E Label a four-note, Em chord arpeggio stacked in 3rds and a 4th. nt ina om Term: ic ubd Write the secondary chords. Ton S Dominant Em F m Bm C D Em F# m G A Bm C# D # # Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note. -
Affordant Chord Transitions in Selected Guitar-Driven Popular Music
Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions.