Preparatory B Workbook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
On Modulation —
— On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com. -
Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf
SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a. -
Key Relationships in Music
LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related. -
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. -
Chronology--Autoharp Books.Indd
Got one or more titles not on this list that you would like to donate? Contact me at thedulcimerlady at juno dot com) The last updated date appears both in the .pdf title and at the bottom of this page. Any date change you may notice means new items were added or existing items were revised or updated. Please contact me at the email address at the top of any page re: any old, public-domain materials you may have that are not on this list. Original copies, scans, and/or photo-copies of public- domain materials, along with any and all historical information, are welcome! If you don’t see a more recent title that's protected by copyright (after 1926 or so), I don’t have it. For these, I’ll feel more comfortable (and legal) having published books over photocopies. So before you toss out or give away that instruction book you no longer need, it may just fi nd a home here as a reference tool. And if you want to buy a book for the Archives, blessings on you! I'll add your name to the growing list of donors on my On the Research Trail web page. The best way to see if a book title is in the AutoharpING Archives is to fi rst fi nd its copyright year on the book you have, if present (very old books may lack this; check the verso of the title page, the title page itself, or a few pages into the text). Then look up the copyright year in the fi rst column of the books list (Section I). -
Unc Symphony Orchestra Library
UNC ORCHESTRA LIBRARY HOLDINGS Anderson Fiddle-Faddle Anderson The Penny-Whistle Song Anderson Plink, Plank, Plunk! Anderson A Trumpeter’s Lullaby Arensky Silhouettes, Op. 23 Arensky Variations on a Theme by Tchaikovsky, Op. 35a Bach, J.C. Domine ad adjuvandum Bach, J.C. Laudate pueri Bach Cantata No. 106, “Gottes Zeit ist die allerbeste Zeit” Bach Cantata No. 140, “Wachet auf, ruft uns die Stimme” Bach Cantata No. 209, “Non sa che sia dolore” Bach Brandenburg Concerto No. 1 in F major, BWV 1046 Bach Brandenburg Concerto No. 2 in F major, BWV 1047 Bach Brandenburg Concerto No. 3 in G major, BWV 1048 Bach Brandenburg Concerto No. 4 in G major, BWV 1049 Bach Brandenburg Concerto No. 5 in D major, BWV 1050 Bach Clavier Concerto No. 4 in A major, BWV 1055 Bach Clavier Concerto No. 7 in G minor, BWV 1058 Bach Concerto No. 1 in C minor for Two Claviers, BWV 1060 Bach Concerto No. 2 in C major for Three Claviers, BWV 1064 Bach Violin Concerto No. 1 in A minor, BWV 1041 Bach Concerto in D minor for Two Violins, BWV 1043 Bach Komm, süsser Tod Bach Magnificat in D major, BWV 243 Bach A Mighty Fortress Is Our God Bach O Mensch, bewein dein Sünde gross, BWV 622 Bach Prelude, Choral and Fugue Bach Suite No. 3 in D major, BWV 1068 Bach Suite in B minor Bach Adagio from Toccata, Adagio and Fugue in C major, BWV 564 Bach Toccata and Fugue in D minor, BWV 565 Barber Adagio for Strings, Op. -
Trumpet Scales
Poston Scale Packet Trumpet Jenn Bock Concert F Major G Major Written One Octave Scale and Arpeggio #c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale # œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise # œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Bb Major C Major Written One Octave Scale and Arpeggio & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Eb Major F Major Written One Octave Scale and Arpeggio œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ w Poston Scale Packet- Trumpet- Jenn Bock 2 Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Ab Major Bb Major Written One Octave Scale and Arpeggio b &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ b œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ -
A Study of Musical Rhetoric in JS Bach's Organ Fugues
A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people. -
Josephson 2017.3425 Words
Reconciling Opposites: On the Compositional Genesis of Sibelius’s Scènes historiques II and The Oceanides Nors S. Josephson Sibelius’s Scènes historiques II, Op. 66, were conceived as a sequel to Scènes historiques I, Op. 25, which had been completed in September 1911 as a revision of Nos. 2, 5 and 4 (or Tableaux 1, 4 and 3) from the earlier Press Celebrations Music of 1899. Furthermore, Scènes historiques II also echo certain aspects of Sibelius’s Karelia Suite, Op. 11, notably the E flat major fanfares of the well-known Intermezzo (composed in 1893). Significantly, Sibelius had written to Breitkopf & Härtel at the end of 1909 – in response to his publisher’s entreaties – that ‘it would be easy to make a suite in the Carelia style’ (‘eine Suite in Style Carelia sich gut machen lässt’[1]). The actual music of Sibelius’s Scènes historiques II was composed between 28th May 1909 (the day he mentioned in his diary that the first movement [Die Jagd] was being planned) and March/April1912.[2] On 1st July 1911 he refers to both an overture (likely the future Die Jagd with its subtitle, Ouvertüre) and a suite – two works that are again listed in his entries for 9th and 11th January 1912 (there worded Suite symphonique). Not until 20th January 1912 does Die Jagd become synonymous with the above-mentioned overture (‘for a limited characteristic orchestra’ with bass clarinet and horns). Sibelius worked especially hard on Die Jagd between 16th December 1911 and 19th February 1912. From his entries on 4th and 15th February we learn that he extensively revised the hunting fanfares in Die Jagd – which are frequently related to sketches for Sibelius’s Cassazione, Op. -
Finding Alternative Musical Scales
Finding Alternative Musical Scales John Hooker Carnegie Mellon University October 2017 1 Advantages of Classical Scales • Pitch frequencies have simple ratios. – Rich and intelligible harmonies • Multiple keys based on underlying chromatic scale with tempered tuning. – Can play all keys on instrument with fixed tuning. – Complex musical structure. • Can we find new scales with these same properties? – Constraint programming is well suited to solve the problem. 2 Simple Ratios • Acoustic instruments produce multiple harmonic partials. – Frequency of partial = integral multiple of frequency of fundamental. – Coincidence of partials makes chords with simple ratios easy to recognize. Perfect fifth C:G = 2:3 3 Simple Ratios • Acoustic instruments produce multiple harmonic partials. – Frequency of partial = integral multiple of frequency of fundamental. – Coincidence of partials makes chords with simple ratios easy to recognize. Octave C:C = 1:2 4 Simple Ratios • Acoustic instruments produce multiple harmonic partials. – Frequency of partial = integral multiple of frequency of fundamental. – Coincidence of partials makes chords with simple ratios easy to recognize. Major triad C:E:G = 4:5:6 5 Multiple Keys • A classical scale can start from any pitch in a chromatic with 12 semitone intervals. – Resulting in 12 keys. – An instrument with 12 pitches (modulo octaves) can play 12 different keys. – Can move to a different key by changing only a few notes of the scale. 6 Multiple Keys Let C major be the tonic key C 1 D#E 6 A C major b 0 notes F#G -
Johann Sebastian Bach Brandenburg Concerto No. 2 in F Major, BWV 1047
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Brandenburg Concerto No. 2 in F Major, BWV 1047 The dates of composition and first performance of the SecondBrandenburg Concerto are unknown. The score calls for solo flute, oboe, trumpet, and violin, with strings and continuo. Performance time is approximately thirteen minutes. The Chicago Symphony Orchestra's first subscription concert performances of Bach's Second Brandenburg Concerto (as arranged for orchestra by Felix Mottl) were given at Orchestra Hall on March 7 and 8, 1913, with Harry Weisbach, Alfred Quensel, Joseph Schreurs, Alfred Barthel, and Edward Llewellyn as soloists, and Frederick Stock conducting. Berlin is now only a short afternoon's drive from the half a dozen towns in east-central Germany where Bach lived and worked his entire life. (In sixty-five years, he never set foot outside Germany.) But in his day, the trip was much more arduous, and Bach didn't travel that far unless he was sent on official business. He went to Berlin, apparently for the first time, in 1719, on an expense-account shopping trip, to buy a new, state-of-the-art harpsichord for his patron in Cöthen, a small, remote, rural town sometimes dismissively called "Cow Cöthen." Bach wouldn't recognize Berlin today, with its traffic jams and round- the-clock construction, but he was probably put off by its urban bustle even in 1719, for he had only a passing acquaintance with large towns such as Leipzig and Dresden. We don't know exactly when Bach visited Berlin that year--on March 1 the Cöthen court treasury advanced him 130 thalers "for the harpsichord built in Berlin and travel expenses"--or how long he stayed. -
Modulation: Pivot Chords
MODULATION: PIVOT CHORDS APPLICATIONS OF THE HARMONIC WHEEL CONTENTS 2 The Modulation consists in changing from one Key to another. To do that, it is common to use a Pivot Chord, which is a chord that belongs to both keys, and then the new key is affirmed by a Cadence, which may consist, simply, in the chords V7 I. In this presentation, an explanation is given on how to obtain the pivot chords between two keys, using the Harmonic Wheel. For the sake of simplicity, only consonant pivot chords are considered, that is, Major or minor. © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 3 Every Major or natural minor key contains 6 consonant chords: 3 Major and 3 minor. On the Harmonic Wheel, these 6 chords are inside a curved rectangle and they are placed taking into account their affinity. For example, in the C Major / A minor key these 6 chords appear in the following arrangement: Dm Am Em F C G © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 4 © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 5 Remember that the scale tonic is indicated with and the rest of the notes with . Traditionally, the modulation is studied with the aid of the cycle of fifths, where the keys are sorted according to their key signatures. On its own, the Harmonic Wheel is a much more complete representation than a cycle of fifths, since it gives a panoramic view of chords and keys, as well as the existing relationships among them. © 2009 www.harmonicwheel.com MODUL.