DOCSLIB.ORG

What Are Musical Scales?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Are Musical Scales? What are Musical Scales? A scale is a sequence of musical notes in an ascending or a descending order. They are organised into categories such as diatonic, major, minor, and others, with a specific group of notes thus being described as a C-major scale, D-minor scale. Scales are typically listed from low to high. For instance, the increasing C major scale is C-D-E-F- G-A-B-[C], with the bracket indicating that the last note is an octave higher than the first note. Scales may be described according to the intervals they contain: for example: diatonic, chromatic, whole tone or they may be described according by the number of different pitch classes they contain: - Ditonic, tritonic, tetratonic scales having two, three or four tones - used in prehistoric music. Pentatonic, hexatonic, heptatonic scales, having five, six, and seven tones - are most common. Octatonic or eight tones - used in jazz and modern classical music. One or more scales may be used in a composition, such as in Claude Debussy's composition L'Isle Joyeuse. Scales in traditional Western music generally consist of seven notes and repeat at the octave. Notes in the commonly used scales are separated by whole and half step intervals of tones and semitones. Scales through History 1100–1600 Western music in the Medieval and Renaissance periods tends used the white-note diatonic scale C- D-E-F-G-A-B. 1600–1900 Music of this period used three types of scale: * The diatonic scale (seven notes) * The melodic and harmonic minor scales (seven notes) These scales are used in all of their transpositions. The music of this period introduces modulation, which involves systematic changes from one scale to another. Modulation occurs in relatively conventionalised ways. For example, major-mode pieces typically begin in a "tonic" diatonic scale and modulate to the "dominant" scale a fifth above. 1900 Onwards In the nineteenth and twentieth century, additional types of scales were explored: * The chromatic scale (twelve notes) * The whole tone scale (six notes) * The pentatonic scale (five notes) * The octatonic or diminished scales (eight notes) 16 What is a Major Scale? The major scale is the first of the diatonic scales. Another name for the major scale is the Ionian Mode. A major scale has 7 notes. The first and simplest major scale is the C major scale: C Major Scale The C major scale is the only major scale that doesn't have sharps (#) or flats (b). If you play the C major scale on the piano, only white notes are used (all the white notes). In solfege, the notes of the major scale are named like this: Do, Re, Mi, Fa, Sol, La, Ti, Do Another notation that is used is the following: - C D E F G A B C Do Re Mi Fa Sol La Ti Do All major scales have a typical structure. This is the C major scale: C D E F G A B C The C at the end of the scale is one octave higher (12 half tones) compared to the first C. Here are the intervals between the notes of the C major scale. An interval is the distance between two notes. * C-D: D is 2 half steps higher than C * D-E: 2 half steps * E-F: 1 half step * F-G: 2 half steps * G-A: 2 half steps * A-B: 2 half steps * B-C: 1 half step Every note in the C major scale is 2 notes higher than the previous note, except for the F and the C. C D E F G A B C 2 2 1 2 2 2 1 Major Scale Formula: 2 - 2 - 1 - 2 - 2 - 2 - 1 We can use this formula to construct other major scales: - e.g. D Major Scale D E F# G A B C# D 2 2 1 2 2 2 1 * # the sharp sign makes a note a half step higher. * b the flat sign makes a note a half step lower. List of all the Major Scales: C Major Scale: C D E F G A B 17 D Major Scale: D E F# G A B C# E Major Scale: E F# G# A B C# D# F Major Scale: F G A Bb C D E G Major Scale: G A B C D E F# A Major Scale: A B C# D E F# G# B Major Scale: B C# D# E F# G# A# C# Major Scale: C# D# E# F# G# A# B# Eb Major Scale: Eb F G Ab Bb C D F# Major Scale: F# G# A# B C# D# E# Ab Major Scale: Ab Bb C Db Eb F G Bb Major Scale: Bb C D Eb F G A Minor Scales The notes on a major scale sound bright and cheerful while the notes of the minor scale sound solemn and sad. List of all the Minor Scales: C = C - D - Eb - F - G - Ab - Bb - C D = D - E - F - G - A - Bb - C - D E = E - F# - G - A - B - C - D - E F = F - G - Ab - Bb - C - Db - Eb - F G = G - A - Bb - C - D - Eb - F - G A = A - B - C - D - E - F - G - A B = B - C# - D - E - F# - G - A - B C# = C# - D# - E - F# - G# - A - B - C# Eb = Eb - F - Gb - Ab - Bb - Cb - Db - Eb F# = F# - G# - A - B - C# - D - E - F# G# = G# - A# - B - C# - D# - E - F# - G# Bb = Bb - C - Db - Eb - F - Gb - Ab - Bb The formula to create a minor scale is: – whole step - half step - whole step - whole step - half step - whole step - whole step w - h - w - w - h - w - w. 2 -1 - 2 - 2 - 1 - 2 – 2 Pentatonic Scale The word "pentatonic" comes from the Greek word ‘pente’ meaning five and ‘tonic’ meaning tone. The pentatonic scale consists of five notes within one octave. The pentatonic scale is a very ancient scale. Pentatonic scales are very common and are found all over the world. They are found in Celtic folk music, Hungarian folk music, West African music, African-American spirituals, American folk music, Jazz, American blues music and rock music, Sami joik singing, children's songs and in the music of ancient Greece. Pentatonic scales are also found in the music of Indonesia, the Philippines, Korea, Malaysia, Japan, China, India and Vietnam. The pentatonic scale is also found in Andean music, Afro-Caribbean music in the Great Highland Bagpipe. Western Classical composers such as the French composer Claude Debussy also used this scale. 18 Pentatonic scales are either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. The two basic forms of pentatonic scales are: Major Pentatonic Scale - Consists of the 1st - 2nd - 3rd - 5th - 6th notes of a major scale. Minor Pentatonic Scale - Consists of the same 5 notes of a major pentatonic scale but its tonic (first note of the scale} is 3 semitones below the tonic of the major pentatonic scale. For example, the C major pentatonic (C - D - E - G – A) has the same notes as the A minor pentatonic (A - C - D - E – G) but arranged differently. The first note or tonic of the A minor pentatonic scale is 3 semitones (half steps) lower than the first note of the C major pentatonic scale. It uses the 1st - minor 3rd - 4th - 5th - minor 7th notes of a scale. Major Pentatonic Scale Anhemitonic pentatonic scales can be constructed in many ways. One construction takes five consecutive pitches from the circle of fifths; starting on C, these are C, G, D, A, and E. Transposing the pitches to fit into one octave rearranges the pitches into the major pentatonic scale: C, D, E, G, A, C. This common scale is found in the opening bars of "My Girl" by The Temptations. Another construction works backward: It omits two pitches from a diatonic scale. If we were to begin with a C major scale, for example, we might omit the fourth and the seventh notes of the scale F and B. The remaining notes, C, D, E, G, and A are transpositionally equivalent to the black keys on a piano keyboard: G-flat, A-flat, B-flat, D-flat and E-flat. Omitting the third (E) and seventh note (B) of the C major scale obtains the notes for another anhemitonic pentatonic scale: (F,G,A,C,D). Omitting the first and fourth notes of the C major scale gives a third an hemitonic pentatonic scale: (G,A,B,D,E). Minor Pentatonic Scale Although various hemitonic pentatonic scales might be called minor, the term is most commonly applied to the relative minor pentatonic scale derived from the major pentatonic, using scale tones 1, 3, 4, 5, and 7 of the natural minor scale. The C minor pentatonic would be C, E-flat, F, G, B-flat. The A minor pentatonic, the relative minor of C, would be the same tones as C major pentatonic, starting on A, giving A, C, D, E, G. This minor pentatonic contains all three tones of an A minor triad. The major pentatonic scale is the basic scale of the music of China and the music of Mongolia. The fundamental tones rendered by the 5 holes of the Japanese shakuhachi flute play a minor pentatonic scale. The minor pentatonic scale can be heard as the first notes of the verse of Don McLean's hit song ‘Vincent’ (Starry, Starry Night).
Load more

Recommended publications
  • How to Construct Modes
    How to Construct Modes Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. There are seven basic modes and you may derive them utilizing a major scale as reference. The names of the 7 modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian Each scale or mode has distinctive note relationships which give it its unique sound. The simplest way to construct modes is to construct a seven note scale starting from each successive note in a major scale. By referencing the diatonic notes in the original major scale (ionian mode), all seven modes can be created from each of the major scale notes. • Ionian is scale degree l to l (one octave higher or lower) • Dorian is 2 to 2 • Phrygian is 3 to 3 • Lydian is 4 to 4 • Mixolydian is 5 to 5 • Aeolian is 6 to 6 • Locrian is 7 to 7 However, there is a better way to construct any mode: To construct any mode, think of the scale degree it is associated with. For example, dorian can be associated with the second degree of a major scale. As we have seen, modes may be constructed by building a diatonic 7 note scale beginning on each successive major scale degree. But you need to be able to construct on any note any of the seven modes without first building a major scale.
    [Show full text]
  • The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
    The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely.
    [Show full text]
  • James Clerk Maxwell
    James Clerk Maxwell JAMES CLERK MAXWELL Perspectives on his Life and Work Edited by raymond flood mark mccartney and andrew whitaker 3 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries c Oxford University Press 2014 The moral rights of the authors have been asserted First Edition published in 2014 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2013942195 ISBN 978–0–19–966437–5 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only.
    [Show full text]
  • The New Dictionary of Music and Musicians
    The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno­ mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo­ ries and polyphonic music. IV. Modal scales and folk­ song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela­ tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so­ called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes.
    [Show full text]
  • THE MODES of ANCIENT GREECE by Elsie Hamilton
    THE MODES OF ANCIENT GREECE by Elsie Hamilton * * * * P R E F A C E Owing to requests from various people I have consented with humility to write a simple booklet on the Modes of Ancient Greece. The reason for this is largely because the monumental work “The Greek Aulos” by Kathleen Schlesinger, Fellow of the Institute of Archaeology at the University of Liverpool, is now unfortunately out of print. Let me at once say that all the theoretical knowledge I possess has been imparted to me by her through our long and happy friendship over many years. All I can claim as my own contribution is the use I have made of these Modes as a basis for modern composition, of which details have been given in Appendix 3 of “The Greek Aulos”. Demonstrations of Chamber Music in the Modes were given in Steinway Hall in 1917 with the assistance of some of the Queen’s Hall players, also 3 performances in the Etlinger Hall of the musical drama “Sensa”, by Mabel Collins, in 1919. A mime “Agave” was performed in the studio of Madame Matton-Painpare in 1924, and another mime “The Scorpions of Ysit”, at the Court Theatre in 1929. In 1935 this new language of Music was introduced at Stuttgart, Germany, where a small Chamber Orchestra was trained to play in the Greek Modes. Singers have also found little difficulty in singing these intervals which are not those of our modern well-tempered system, of which fuller details will be given later on in this booklet.
    [Show full text]
  • The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9!
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Chapter 26 Scales a La Mode
    CHAPTER 26 SCALES A LA MODE Musical innovation is full of danger to the State, for when modes of music change, the laws of the State always change with them. PLATO WHAT IS A MODE? A mode is a type of scale. Modes are used in music like salsa, jazz, country, rock, fusion, speed metal, and more. The reason the Chapter image is of musicians jamming is that modes are important to understanding (and using) jazz theory, and helpful if you’re trying to understand improvisation. Certain modes go with certain chords. For more information about modes and their specific uses in jazz, read James Levine’s excellent book, Jazz Theory. On the Web at http://is.gd/iqufof These are also called “church modes” because they were first used in the Catholic Church back in Medieval times (remember good old Guido d’ Arezzo?). The names of the modes were taken from the Greek modes, but other than the names, they have no relation to the Greek modes. The two modes that have been used the most, and the only two most people know, are now called the Major and natural minor scales. Their original names were the Ionian mode (Major), and the Aeolian mode (natural minor). The other modes are: dorian, phrygian, lydian, mixolydian, and locrian. Modes are easy to understand. We’ll map out each mode’s series of whole and half steps and use the key of C so there aren’t any sharps or flats to bother with. THE MODES IONIAN Ionian is used in nearly all Western music, from Acid Rock to Zydeco.
    [Show full text]
  • Jazz Harmony Iii
    MU 3323 JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will enable you to identify and construct chord scales. This subcourse will also enable you to apply chord scales that correspond to given chord symbols in harmonic progressions. Unless otherwise stated, the masculine gender of singular is used to refer to both men and women. Prerequisites for this course include: Chapter 2, TC 12-41, Basic Music (Fundamental Notation). A knowledge of key signatures. A knowledge of intervals. A knowledge of chord symbols. A knowledge of chord progressions. NOTE: You can take subcourses MU 1300, Scales and Key Signatures; MU 1305, Intervals and Triads; MU 3320, Jazz Harmony I (Chord Symbols/Extensions); and MU 3322, Jazz Harmony II (Chord Progression) to obtain the prerequisite knowledge to complete this subcourse. You can also read TC 12-42, Harmony to obtain knowledge about traditional chord progression. TERMINAL LEARNING OBJECTIVES MU 3323 1 ACTION: You will identify and write scales and modes, identify and write chord scales that correspond to given chord symbols in a harmonic progression, and identify and write chord scales that correspond to triads, extended chords and altered chords. CONDITION: Given the information in this subcourse, STANDARD: To demonstrate competency of this task, you must achieve a minimum of 70% on the subcourse examination. MU 3323 2 TABLE OF CONTENTS Section Subcourse Introduction Administrative Instructions Grading and Certification Instructions L esson 1: Sc ales and Modes P art A O verview P art B M ajor and Minor Scales P art C M odal Scales P art D O ther Scales Practical Exercise Answer Key and Feedback L esson 2: R elating Chord Scales to Basic Four Note Chords Practical Exercise Answer Key and Feedback L esson 3: R elating Chord Scales to Triads, Extended Chords, and Altered Chords Practical Exercise Answer Key and Feedback Examination MU 3323 3 ADMINISTRATIVE INSTRUCTIONS 1.
    [Show full text]
  • Orientalism As Represented in the Selected Piano Works by Claude Debussy
    Chapter 4 ORIENTALISM AS REPRESENTED IN THE SELECTED PIANO WORKS BY CLAUDE DEBUSSY A prominent English scholar of French music, Roy Howat, claimed that, out of the many composers who were attracted by the Orient as subject matter, “Debussy is the one who made much of it his own language, even identity.”55 Debussy and Hahn, despite being in the same social circle, never pursued an amicable relationship.56 Even while keeping their distance, both composers were somewhat aware of the other’s career. Hahn, in a public statement from 1890, praised highly Debussy’s musical artistry in L'Apres- midi d'un faune.57 Debussy’s Exposure to Oriental Cultures Debussy’s first exposure to oriental art and philosophy began at Mallarmé’s Symbolist gatherings he frequented in 1887 upon his return to Paris from Rome.58 At the Universal Exposition of 1889, he had his first experience in the theater of Annam (Vietnam) and the Javanese Gamelan orchestra (Indonesia), which is said to be a catalyst 55Roy Howat, The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier (New Haven, Conn.: Yale University Press, 2009), 110 56Gavoty, 142. 57Ibid., 146. 58François Lesure and Roy Howat. "Debussy, Claude." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/07353 (accessed April 4, 2011). 33 34 in his artistic direction. 59 In 1890, Debussy was acquainted with Edmond Bailly, esoteric and oriental scholar, who took part in publishing and selling some of Debussy’s music at his bookstore L’Art Indépendeant. 60 In 1902, Debussy met Louis Laloy, an ethnomusicologist and music critic who eventually became Debussy’s most trusted friend and encouraged his use of Oriental themes.61 After the Universal Exposition in 1889, Debussy had another opportunity to listen to a Gamelan orchestra 11 years later in 1900.
    [Show full text]
  • I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
    Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I.
    [Show full text]
  • 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” ......................................................................................
    [Show full text]