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Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Bird Observer
Bird Observer VOLUME 39, NUMBER 2 APRIL 2011 HOT BIRDS On November 20 the Hampshire Bird Club was waiting at Quabbin headquarters for the rest of the group to arrive when Larry Therrien spotted a flock of 19 swans in the distance— Tundra Swans! Ian Davies took this photograph (left). Since 2003 Cave Swallows have been a specialty of November, showing up in coastal locations in increasing numbers over the years. This year there was a flurry of reports along the New England coast. On Thanksgiving Day, Margo Goetschkes took this photograph (right) of one of the birds at Salisbury. On November 30, Vern Laux got a call from a contractor reporting a “funny bird” at the Nantucket dump. Vern hustled over and was rewarded with great views of this Fork-tailed Flycatcher (left). Imagine: you’re photographing a Rough- legged Hawk in flight, and all of a sudden it is being mobbed—by a Northern Lapwing (right)! That’s what happened to Jim Hully on December 2 on Plum Island. This is only the second state record for this species, the first being in Chilmark in December of 1996. On April 9, Keelin Miller found an interesting gull at Kalmus Beach in Hyannis. As photographs were circulated, opinions shifted toward a Yellow-legged Gull (left). Check out Jeremiah Trimble’s photo from April 13. CONTENTS BIRDING THE LAKEVILLE PONDS OF PLYMOUTH COUNTY, MASSACHUSETTS Jim Sweeney 73 THE FINAL YEAR OF THE BREEDING BIRD ATLAS: GOING OVER THE TOP John Galluzzo 83 37 YEARS OF NIGHTHAWKING Tom Gagnon 86 LEIF J ROBINSON: MAY 21, 1939 – FEBRUARY 28, 2011 Soheil Zendeh 93 FIELD NOTES Double-crested Cormorant Has Trouble Eating a Walking Catfish William E. -
Flight of the Bumblebee (Nikolai Rimsky-Korsakov) Stephen Reid | Elementary Music (Osceola) | Hickory Tree Elementary Mp3 Available Here
2018 Young People’s Concerts Beyond the Screen! Teacher Guidebook Thank you to our 2018 Sponsors! Daytona Beach Symphony Society Thank you also to our 2018 Partners: Orange County Public Schools School District of Osceola Volusia County Schools United Arts of Central Florida Visit OrlandoPhil.org/family-friendly to find more great offerings for kids and families! Meet our Guidebook Team! Putting together a Young People’s Concert requires hard work and the dedication of dozens of people over many months. Please welcome some of the key individuals who make the Young People’s Concert possible! Meet our Guidebook Team! The guidebook team is comprised of certified, veteran teachers who are passionate about music, the arts, and making learning fun! Christy Garton Cindy Krulick Finale from Firebird (Visual Art) Star Spangled Banner OCPS Resource Teacher Finale from Firebird Visual Art (K-12) Dommerich Elementary Orange County Public Schools [email protected] [email protected] Emily Light Katie Grace Miller In the Hall of the Mountain King Tempus Fugit Champion Elementary Sorcerer's Apprentice Volusia County Schools Mambo from West Side Story [email protected] Lake George Elementary Orange County Public Schools [email protected] Denise Mills Anka Pink Duo des fleurs / Sous le dôme épais Hoedown from Rodeo Lake Whitney Elementary OCPS Resource Teacher Orange County Public Schools (Music K-12) [email protected] Orange County Public Schools [email protected] Stephen Reid Dr. Leia Barrett Flight of the Bumblebee Director of Education Hickory Tree Elementary School Orlando Philharmonic Orchestra School District of Osceola [email protected] [email protected] If you have any questions about particular lessons, please contact the teacher who created the lesson originally. -
The Romantext Format: a Flexible and Standard Method for Representing Roman Numeral Analyses
THE ROMANTEXT FORMAT: A FLEXIBLE AND STANDARD METHOD FOR REPRESENTING ROMAN NUMERAL ANALYSES Dmitri Tymoczko1 Mark Gotham2 Michael Scott Cuthbert3 Christopher Ariza4 1 Princeton University, NJ 2 Cornell University, NY 3 M.I.T., MA 4 Independent [email protected], [email protected], [email protected] ABSTRACT Absolute chord labels are performer-oriented in the sense that they specify which notes should be played, but Roman numeral analysis has been central to the West- do not provide any information about their function or ern musician’s toolkit since its emergence in the early meaning: thus one and the same symbol can represent nineteenth century: it is an extremely popular method for a tonic, dominant, or subdominant chord. Accordingly, recording subjective analytical decisions about the chords these labels obscure a good deal of musical structure: a and keys implied by a passage of music. Disagreements dominant-functioned G major chord (i.e. G major in the about these judgments have led to extensive theoretical de- local key of C) is considerably more likely to descend by bates and ongoing controversies. Such debates are exac- perfect fifth than a subdominant-functioned G major (i.e. G erbated by the absence of a public corpus of expert Ro- major in the key of D major). This sort of contextual in- man numeral analyses, and by the more fundamental lack formation is readily available to both trained and untrained of an agreed-upon, computer-readable syntax in which listeners, who are typically more sensitive to relative scale those analyses might be expressed. This paper specifies degrees than absolute pitches. -
Graduate Music Theory Exam Preparation Guidelines
Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content -
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. -
David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel
David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts................................................................................................................................... -
Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Time Allotment: 20 Minutes Per Day
10th Grade Music – Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Time Allotment: 20 minutes per day Student Name: ________________________________ Teacher Name: ________________________________ Academic Honesty I certify that I completed this assignment I certify that my student completed this independently in accordance with the GHNO assignment independently in accordance with Academy Honor Code. the GHNO Academy Honor Code. Student signature: Parent signature: ___________________________ ___________________________ Music – Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Packet Overview Date Objective(s) Page Number Monday, May 4 1. Review Roman numeral identification of triads 2 2. Identify diatonic seventh chords in major Tuesday, May 5 1. Identify diatonic seventh chords in minor 4 Wednesday, May 6 1. Decode inversion symbols for diatonic triads 5 Thursday, May 7 1. Decode inversion symbols for diatonic seventh 7 chords Friday, May 8 1. Demonstrate understanding of diatonic chord 9 identification and Roman numeral analysis by taking a written assessment. Additional Notes: In order to complete the tasks within the following packet, it would be helpful for students to have a piece of manuscript paper to write out triads; I have included a blank sheet of manuscript paper to be printed off as needed, though in the event that this is not feasible students are free to use lined paper to hand draw a music staff. I have also included answer keys to the exercises at the end of the packet. Parents, please facilitate the proper use of these answer documents (i.e. have students work through the exercises for each day before supplying the answers so that they can self-check for comprehension.) As always, will be available to provide support via email, and I will be checking my inbox regularly. -
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Describing Species
DESCRIBING SPECIES Practical Taxonomic Procedure for Biologists Judith E. Winston COLUMBIA UNIVERSITY PRESS NEW YORK Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 1999 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data © Winston, Judith E. Describing species : practical taxonomic procedure for biologists / Judith E. Winston, p. cm. Includes bibliographical references and index. ISBN 0-231-06824-7 (alk. paper)—0-231-06825-5 (pbk.: alk. paper) 1. Biology—Classification. 2. Species. I. Title. QH83.W57 1999 570'.1'2—dc21 99-14019 Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 98765432 p 10 98765432 The Far Side by Gary Larson "I'm one of those species they describe as 'awkward on land." Gary Larson cartoon celebrates species description, an important and still unfinished aspect of taxonomy. THE FAR SIDE © 1988 FARWORKS, INC. Used by permission. All rights reserved. Universal Press Syndicate DESCRIBING SPECIES For my daughter, Eliza, who has grown up (andput up) with this book Contents List of Illustrations xiii List of Tables xvii Preface xix Part One: Introduction 1 CHAPTER 1. INTRODUCTION 3 Describing the Living World 3 Why Is Species Description Necessary? 4 How New Species Are Described 8 Scope and Organization of This Book 12 The Pleasures of Systematics 14 Sources CHAPTER 2. BIOLOGICAL NOMENCLATURE 19 Humans as Taxonomists 19 Biological Nomenclature 21 Folk Taxonomy 23 Binomial Nomenclature 25 Development of Codes of Nomenclature 26 The Current Codes of Nomenclature 50 Future of the Codes 36 Sources 39 Part Two: Recognizing Species 41 CHAPTER 3. -
Music Jazz Booklet
AQA Music A level Area of Study 5: Jazz NAME: TEACHER: 1 Contents Page Contents Page number What you will be studying 3 Jazz Timeline and background 4 Louis Armstrong 8 Duke Ellington 15 Charlie Parker 26 Miles Davis 33 Pat Metheny 37 Gwilym Simcock 40 Essay Questions 43 Vocabulary 44 2 You will be studying these named artists: Artists Pieces Louis Armstrong St. Louis Blues (1925, Louis Armstrong and Bessie Smith) Muskrat Ramble (1926, Louis Armstrong and his Hot Five) West End Blues (1928, Louis Armstrong and his Hot Five) Stardust (1931, Louis Armstrong and his Orchestra) Duke Ellington The Mooche (1928, Duke Ellington and his Orchestra) Black and Tan (1929, Duke Ellington and his Orchestra) Ko-Ko (1940, Duke Ellington and his Orchestra) Come Sunday from Black, Brown and Beige (1943) Charlie Parker Ko-Ko (1945, Charlie Parker’s Reboppers) A Night in Tunisia (1946, Charlie Parker Septet) Bird of Paradise (1947, Charlie Parker Quintet) Bird Gets the Worm (1947, Charlie Parker All Stars) Miles Davis So What, from Kind of Blue (1959) Shhh, from In a Silent Way (1969) Pat Metheny (Cross the) Heartland, from American Garage (1979) Are you Going with Me?, from Offramp (1982) Gwilym Simcock Almost Moment, from Perception (2007) These are the Good Days, from Good Days at Schloss Elamau (2014) What you need to know: Context about the artist and the era(s) in which they were influential and the effect of audience, time and place on how the set works were created, developed and performed Typical musical features of that artist and their era – their purpose and why each era is different Musical analysis of the pieces listed for use in your exam How to analyse unfamiliar pieces from these genres Relevant musical vocabulary and terminology for the set works (see back of pack) 3 Jazz Timeline 1960’s 1980’s- current 1940’s- 1950’s 1920’s 1930’s 1940’s 1960’s- 1980’s 1870’s – 1910’s 1910-20’s St.