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PUA Green Book
Notes for PUA Songbook Two This song book is intended for the purpose of community singing at the ukulele association song circles and not for financial gain. The chord chart on the inside cover is complements of Ralph Shaw, http://www.ralphshaw.ca/ Things to help you get around the song sheets: The songs are in alphabetical order except when there is a two page song. The two- page songs were moved so they could be seen at the same time when the book is open flat. There is a table of contents to point you to the right page for a song. S.N. stands for Starting Note - the 1st note of the melody. It is at the top of each song along with the time signature and other information. N.C. stands for NO CHORD. Don’t play chords during the lyric section with this abbreviation over the phrase. “Ritard.” Ritardando —slowing down (abbreviation: rit. or ritard.) This symbol is used at the end of a number of songs and usually means: give each bar or word of the phrase designated twice the normal length – 4 beats, vs. 2. Used as an ending to some songs. A Coda is a symbol used to show the concluding passage of a piece or movement, it is used as a directional sign on a few pages. Repeat Symbols: ||: :|| Anything between these two symbols are repeated – usually at the end of a song – to indicate that we repeat the last line on or more times to end the song. Many songs have had chords simplified so that inexperienced players can join in more easily. -
Center of My Life
MUSIC CHART Center of My Life High Key - Chord Chart By Greg Ferguson © 2005 Ever Devoted Music. Administered by Willow Creek Association. All Rights Reserved. INCLUDES PARTS FOR: CHORD CHART Note: Purchase of this product entitles your church and/or non-profit organization to photocopy the enclosed material for each musical performer in your church or non-profit organization only. The material is non-transferable between churches or organizations and cannot be 633277874243 resold. PDF Center of My Life (Rhythm - High Key) By Greg Ferguson 4/4 time, 85 b.p.m. INTRO Tacet (Ac. GTR 1 only) 6 4 /4 | /4 || VERSE 1 Tacet (Ac. GTR 1 only) I’m a complicated man trying to make the pieces fit Up before the sun each day trying to make some sense of it You’re the only hope I see to take this scattered soul and set it right And I need you in the center of my | life. | || VERSE 2 D(add 2) D(add 4) D(add 2) D(add 4) Wish that I could wave a wand to | undo every careless word, | D(add 2) D(add 4) D(add 2) D(add 4) D/F# Every friend that I let down, and | cries for help I never heard; | MORE ON COMPLETE FILE © 2005 Ever Devoted Music. Administered by Willow Creek Association. All Rights Reserved. Chord Chart by KLS Center of My Life (Guitar 1) By Greg Ferguson Low Key – as is Original Key – Capo II High Key – Capo V 4/4 time, 85 b.p.m. -
Chord Charts
Territorial Music Institute The Salvation Army, USA Southern Territory July 22-30, 2018 WORSHIP TEAM LEADERSHIP AUDITIONS Chord Charts All worship team leadership majors must complete a worship team audition. Please read the audition instructions carefully and practice everything before you arrive! During your audition, you will also have a short interview about your leadership history and goals. INSTRUCTIONS: WORSHIP TEAM AUDITION For your audition, you need to perform two of the three following worship songs: 10,000 Reasons This Is Amazing Grace O Come to the Altar Each of these songs is available as a chord chart and a lead sheet in both high and low keys. Download the appropriate music from our website here (www.ussmusicandarts.org/worship-team-auditions/). You will be evaluated on your current level of ability and stage presence. You may also be asked to demonstrate your basic skills, as follows: GUITAR, BASS, & KEYBOARD Identify and play on your instrument the I, IV, V and vi (1, 4, 5 and 6) chords in the keys of C, D, E, G, and A. VOCALS Demonstrate your range with short exercises and your ability to find and sing a harmony part. DRUMS Play a steady beat in various times and styles. 10,000 Reasons (Bless The Lord) Key - Words and Music by Jonas Myrin and Matt Redman CCLI Song # 6016351 © 2011 Said And Done Music | SHOUT! Music Publishing | sixsteps Music | Thankyou Music | worshiptogether.com songs For use solely with the SongSelect Terms of Use. All rights reserved. www.ccli.com CCLI License # 367814 10,000 Reasons (Bless The Lord) - 2 This Is Amazing Grace Key - Music and Words by Phil Wickham, Jeremy Riddle and Josh Farro CCLI Song # 6333821 © 2012 Phil Wickham Music | Seems Like Music | Sing My Songs | WB Music Corp. -
Evaluating Prolongation in Extended Tonality
Evaluating Prolongation in Extended Tonality <http://mod7.shorturl.com/prolongation.htm> Robert T. Kelley Florida State University In this paper I shall offer strategies for deciding what is structural in extended-tonal music and provide new theoretical qualifications that allow for a conservative evaluation of prolongational analyses. Straus (1987) provides several criteria for finding post-tonal prolongation, but these can simply be reduced down to one important consideration: Non-tertian music clouds the distinction between harmonic and melodic intervals. Because linear analysis depends upon this distinction, any expansion of the prolongational approach for non-tertian music must find alternative means for defining the ways in which transient tones elaborate upon structural chord tones to foster a sense of prolongation. The theoretical work that Straus criticizes (Salzer 1952, Travis 1959, 1966, 1970, Morgan 1976, et al.) fails to provide a method for discriminating structural tones from transient tones. More recently, Santa (1999) has provided associational models for hierarchical analysis of some post-tonal music. Further, Santa has devised systems for determining salience as a basis for the assertion of structural chords and melodic pitches in a hierarchical analysis. While a true prolongational perspective cannot be extended to address most post-tonal music, it may be possible to salvage a prolongational approach in a restricted body of post-tonal music that retains some features of tonality, such as harmonic function, parsimonious voice leading, or an underlying diatonic collection. Taking into consideration Straus’s theoretical proviso, we can build a model for prolongational analysis of non-tertian music by establishing how non-tertian chords may attain the status of structural harmonies. -
In Search of the Perfect Musical Scale
In Search of the Perfect Musical Scale J. N. Hooker Carnegie Mellon University, Pittsburgh, USA [email protected] May 2017 Abstract We analyze results of a search for alternative musical scales that share the main advantages of classical scales: pitch frequencies that bear simple ratios to each other, and multiple keys based on an un- derlying chromatic scale with tempered tuning. The search is based on combinatorics and a constraint programming model that assigns frequency ratios to intervals. We find that certain 11-note scales on a 19-note chromatic stand out as superior to all others. These scales enjoy harmonic and structural possibilities that go significantly beyond what is available in classical scales and therefore provide a possible medium for innovative musical composition. 1 Introduction The classical major and minor scales of Western music have two attractive characteristics: pitch frequencies that bear simple ratios to each other, and multiple keys based on an underlying chromatic scale with tempered tuning. Simple ratios allow for rich and intelligible harmonies, while multiple keys greatly expand possibilities for complex musical structure. While these tra- ditional scales have provided the basis for a fabulous outpouring of musical creativity over several centuries, one might ask whether they provide the natural or inevitable framework for music. Perhaps there are alternative scales with the same favorable characteristics|simple ratios and multiple keys|that could unleash even greater creativity. This paper summarizes the results of a recent study [8] that undertook a systematic search for musically appealing alternative scales. The search 1 restricts itself to diatonic scales, whose adjacent notes are separated by a whole tone or semitone. -
Transfer Theory Placement Exam Guide (Pdf)
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices. -
Navedtra 12012
SPECIAL PUBLICATION March 1990 Harmony NAVEDTRA 12012 Notice: NETPDTC is no longer responsible for the content accuracy of the NRTCs. For content issues, contact the servicing Center of Excellence: Center for Service Support (CSS Athens); (706) 355-7501, Ext. 7642 or DSN: 354-7501, Ext. 7642 DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited. ACKNOWLEDGEMENT The contents of this Special Publication were furnished by the courtesy of the United States Army. DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited. PREFACE Special Publications (SPs) are manuals or catalogs that provide information of general benefit and career development. SPs have no associated assignments or tests. Harmony provides an overview of the basic principles of harmony, progression, and modulation. Refer questions about this SP to: COMMANDING OFFICER SCHOOL OF MUSIC ATTN TRAINING OFFICER 1420 GATOR BLVD NORFOLK VA 23521-2617 DSN: 253-7509 COMM: (757) 462-7509 FAX: DSN 253-4836/COMM (757) 462-4836 1 Sailor’s Creed “I am a United States Sailor. I will support and defend the Constitution of the United States of America and I will obey the orders of those appointed over me. I represent the fighting spirit of the Navy and those who have gone before me to defend freedom and democracy around the world. I proudly serve my country’s Navy combat team with honor, courage and commitment. I am committed to excellence and the fair treatment of all.” 2 Training Circular *TC12-42 No. 12-42 HEADQUARTERS DEPARTMENT OF THE ARMY Washington, DC, 5 November 1984 HARMONY Table of Contents CHAPTER 1 INTRODUCTION . -
Overscheduled Child
Extra-Curricular Activities 1. ____________________________________________ 2. ____________________________________________ 3. ____________________________________________ 4. ____________________________________________ 5. ____________________________________________ 6. ____________________________________________ 7. ____________________________________________ 8. ____________________________________________ 9. ____________________________________________ 10. ____________________________________________ 11. ____________________________________________ 12. ____________________________________________ 13. ____________________________________________ 14. ____________________________________________ 15. ____________________________________________ 16. ____________________________________________ 17. ____________________________________________ 18. ____________________________________________ 19. ____________________________________________ 20. ____________________________________________ The Motivation Matrix Intrinsic motivation Extrinsic motivation Negatively engaged Positively engaged Which quadrant were you in as a beginner? Where were you as a teenager? What about now? Samantha’s 40-Thing Challenge Chart! Level 1 Level 2 Level 3 Level 4 Level 5 Task is Task has Accurate Correct complete / begun / Fluent playing playing tempo, Piece has all rhythms combined including sounding been and pitches with all articulation confident performed correctly expression and dynamics and musical and/or understood recorded! Level Level Level Level Level -
Diatonic Harmony
Music Theory for Musicians and Normal People Diatonic Harmony tobyrush.com music theory for musicians and normal people by toby w. rush although a chord is technically any combination of notes Triads played simultaneously, in music theory we usually define chords as the combination of three or more notes. secundal tertial quartal quintal harmony harmony harmony harmony and œ harmony? œœ œ œ œ œœ œ œ tertial œ œ œ septal chords built from chords built from chords built from chords built from seconds form thirds (MORE perfect fourths perfect fifths tone clusters, SPECifically, from create a different can be respelled as respectively. harmony, which are not major thirds and sound, used in quartal chords, harmonic so much minor thirds) compositions from and as such they harmony? as timbral. form the basis of the early 1900s do not create a most harmony in and onward. separate system of are the same as as with quintal harmony, these harmony, as with quintal the common harmony. secundal practice period. sextal well, diminished thirds sound is the chord still tertial just like major seconds, and if it is built from diminished augmented thirds sound just thirds or augmented thirds? like perfect fourths, so... no. œ œ the lowest note in the chord & œ let’s get started when the chord is in simple on tertial harmony form is called œ the the & œ with the smallest root. fifth œ chord possible: names of the œ third ? œ when we stack the triad. other notes œ the chord in are based on root thirds within one octave, their interval we get what is called the above the root. -
MUS 211/211L Advanced Music Theory II and Lab MUS 313 Form and Analysis MUS 420
South Dakota State University MUS 211/211L Advanced Music Theory II and Lab MUS 313 Form and Analysis MUS 420 Concept: Music Theory "Compositional organization, such as pitch, including scale types and harmony; rhythm; texture; form; expressive elements, such as dynamics, articulation, tempo, and timbre; and basic aural skills: intervals, chords, scales, rhythms, melodies" MUS 211/211 L: Advanced Music Theory II and Lab (Note: since the skills and information regarding basic undergraduate music theory are taught in a "spiraling" manner through MUS 110, 111, 210, and 211, and MUS 211 is considered to be the course in which these materials are presented at a level commensurate with the level of the material as it appears on the Praxis test, this study guide reviews compositional organization as it was taught throughout the entire two-year theory sequence, and refers to pages in both the fall semester [MUS 210] and spring semester [MUS 211] class packets you purchased during the sophomore theory year.) Compositional Organization Students should refer to: The specific pages listed below from the class packets mentioned above, as well as Joe Dineen and Mark Bridge's Gig Bag Book of Theory and Harmony and Robert Ottman's Music for Sight Singing, 6th ed. (Note: the material and the page numbers in your class packets may vary slightly from what is listed below, depending on which year you took the course.) Specifically, students should review: From the fall semester of Sophomore Theory (MUS 210): o Rudiments (notation, scales/key, intervals, -
Augmented Sixth Chords Are Predominant Chords, Meaning They Are Used to Approach Dominant Chords
Augmentedmusic Sixth theory for musicians Chords and normal people by toby w. rush like that moment of incredible tension just before the hero finally kisses the leading lady, the half-step is the go-to interval for creating tension in music of the common ˙ practice period. it drives the entire style! ˙ if one half-step can create such strong tension, how about two half-steps sounding simultaneously? Let’s get creative here for a minute to find a cool new way to approach a diatonic chord. in this case, we’ll use them to approach the dominant triad. ...and approach that first, we’ll start with octave with a half step the doubled root of a below the top note, V chord... #˙ ˙ #˙ ˙ ˙ ˙ & b ˙ ˙ & b ˙ ˙ V & ˙ V ...and, finally, add the V ...and a half step above tonic as the third note. the bottom note... the result is a new chord, one we call the augmented sixth chord, after the interval created by the top and bottom notes. augmented sixth chords are predominant chords, meaning they are used to approach dominant chords. if we just use they are usually used to approach dominant triads, three notes not dominant sevenths, because of the doubled and double the roots present in dominant triads. tonic, we get the #w italian ww however, they also often augmented sixth. b w & approach tonic chords & #˙ ˙ It.6 in second inversion, ˙ ˙ which also contain a doubled fifth scale degree. ? b˙ n˙ b ˙ ˙ if we add the 6 Ger.6 I4 second scale degree instead ˙ ˙ rarely, augmented sixth chords of doubling the # w & ˙ ˙ are found transposed down tonic, we get the ww a perfect fifth, analyzed as french b w ˙ ˙ “on flat two,” and used to augmented sixth. -
The Augmented Sixth Chord
CHAPTER24 The Augmented Sixth Chord Characteristics, Derivation, and Behavior The two excerpts in Example 24.1 are from different style periods, yet they share several features. In terms of form and harmony, both divide into two subphrases and close with strong half cadences. Further, the pre-dominant harmony in both examples is the same: an altered iv6 chord. Indeed, we hear not a Phrygian cadence (iv6-V), but rather some chromatic version, where the diatonic major sixth above the bass is raised a half step to create the strongly directed interval of the augmented sixth (+6). The new half-step ascent (#4-5) mirrors the bass's half-step descent (6-5). We refer to such chromatic pre-dominants as augmented sixth chords because of the characteristic interval between the bass 6 and the upper-voice #4. Listen to both excerpts in Example 24.1, noting the striking sound of the augmented sixth chords. EXAMPLE 24.1 A. Schubert, WaltzinG minor, Die letzte Walzer, op. 127, no. 12, D. 146 472 CHAPTER 24 THE AUGMENTED SIXTH CHORD 473 B. Handel, "Since by Man Came Death," Messiah, HWV 56 Example 24.2 demonstrates the derivation of the augmented sixth chord from the Phrygian cadence. Example 24.2A represents a traditional Phrygian half cadence. In Example 24.2B, the chromatic F# fills the space between F and G, and the passing motion creates an interval of an augmented sixth. Finally, Example 24.2C shows the augmented sixth chord as a harmonic entity, with no consonant preparation. EXAMPLE 24.2 Phrygian Cadence Generates the Augmented Sixth Chord Given that the augmented sixth chord also occurs in major, one might ask if it is an example of an applied chord or a mixture chord? To answer this question, consider the diatonic progression in Example 24.3A.