Apostolic Praise Basicsанаlesson 1
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Harmony Crib Sheets
Jazz Harmony Primer General stuff There are two main types of harmony found in modern Western music: 1) Modal 2) Functional Modal harmony generally involves a static drone, riff or chord over which you have melodies with notes chosen from various scales. It’s common in rock, modern jazz and electronic dance music. It predates functional harmony, too. In some types of modal music – for example in jazz - you get different modes/chord scale sounds over the course of a piece. Chords and melodies can be drawn from these scales. This kind of harmony is suited to the guitar due to its open strings and retuning possibilities. We see the guitar take over as a songwriting instrument at about the same time as the modes become popular in pop music. Loop based music also encourages this kind of harmony. It has become very common in all areas of music since the late 20th century under the influence of rock and folk music, composers like Steve Reich, modal jazz pioneered by Miles Davis and John Coltrane, and influences from India, the Middle East and pre-classical Western music. Functional harmony is a development of the kind of harmony used by Bach and Mozart. Jazz up to around 1960 was primarily based on this kind of harmony, and jazz improvisation was concerned with the improvising over songs written by the classically trained songwriters and film composers of the era. These composers all played the piano, so in a sense functional harmony is piano harmony. It’s not really guitar shaped. When I talk about functional harmony I’ll mostly be talking about ways we can improvise and compose on pre-existing jazz standards rather than making up new progressions. -
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. -
Year 11 Music Revision Guide
Year 11 Music Revision Guidance Name the musical instrument In the exam you will be asked to name different instruments that you can hear playing. If you do not play one of these instruments it can sometimes be quite difficult to pick out what each one sounds like. You will need to know what the different instruments of the orchestra sound like, what popular musical instruments sound like and what some world instruments sound like (sitar). It is worth you visiting www.dsokids.com or www.compositionlab.co.uk where you will be able to hear these instruments individually. Describing musical sounds For some questions in the exam you will need to describe what is happening in the music, in detail! If you are asked to comment on what is happening in the music you may need to describe what a particular instrument is doing, for example: ‘The left hand of the piano is playing ascending arpeggios’. The more detail you can provide, the better! Melodic movement You may be asked to describe what is happening in the melody of a song. Remember, this means the main tune. In popular music this is often the vocal line or in instrumental music it can be described as the instrument that has the main tune (the bit that you could whistle). It could move by STEP; this means it moves to the note next to it. It could move by LEAP; this means that the melody jumps from one note to another but misses some notes out in between. This could be a low note jumping to a high note or vice versa. -
Sonny Rollins Louis Sclavis Monika Roscher Eric Stach Patricia Kaas Gunter Hampel Jimmy Amadie
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Sonny Rollins Louis Sclavis Monika Roscher Eric Stach Patricia Kaas Gunter Hampel Jimmy Amadie Sylvia Cuenca M Top Ten CDs and Concerts of 2013 JazzFest Berlin Int. jazz news jazz stories CD Reviews BooK REVIEWS in memory Volume 40 Number 1 Jan Feb Mar 2014 A HISTORICAL EDITION! Join us for 4 days of concerts sound art installations and visual arts Full program at www.fimav.qc.ca 15 to 18 May 2014 2 | CADENCE MAGAZINE | JAN FEB MAR 2014 4 | CADENCE MAGAZINE | JAN FEB MAR 2014 ___ IC 1001 Doodlin’ - Archie Shepp ___ IC 1070 City Dreams - David Pritchard ___ IC 1002 European Rhythm Machine - ___ IC 1071 Tommy Flanagan/Harold Arlen Phil Woods ___ IC 1072 Roland Hanna - Alec Wilder Songs ___ IC 1004 Billie Remembered - S. Nakasian ___ IC 1073 Music Of Jerome Kern - Al Haig ___ IC 1006 S. Nakasian - If I Ruled the World ___ IC 1075 Whale City - Dry Jack ___ IC 1012 Charles Sullivan - Genesis ___ IC 1078 The Judy Roberts Band ___ IC 1014 Boots Randolph - Favorite Songs ___ IC 1079 Cam Newton - Welcome Aliens ___ IC 1016 The Jazz Singer - Eddie Jefferson ___ IC 1082 Monica Zetterlund, Thad Jones/ ___ IC 1017 Jubilant Power - Ted Curson Mel Lewis Big Band ___ IC 1018 Last Sessions - Elmo Hope ___ IC 1083 The Glory Strut - Ernie Krivda ___ IC 1019 Star Dance - David Friesen ___ IC 1086 Other Mansions - Friesen/Stowell ___ IC 1020 Cosmos - Sun Ra ___ IC 1088 The Other World - Judy Roberts ___ IC 1025 Listen featuring Mel Martin ___ IC 1090 And In This Corner… - Tom Lellis ___ IC 1027 Waterfall -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
A Collection of Stories and Memories by Members of the United States Naval Academy Class of 1963
A Collection of Stories and Memories by Members of the United States Naval Academy Class of 1963 Compiled and Edited by Stephen Coester '63 Dedicated to the Twenty-Eight Classmates Who Died in the Line of Duty ............ 3 Vietnam Stories ...................................................................................................... 4 SHOT DOWN OVER NORTH VIETNAM by Jon Harris ......................................... 4 THE VOLUNTEER by Ray Heins ......................................................................... 5 Air Raid in the Tonkin Gulf by Ray Heins ......................................................... 16 Lost over Vietnam by Dick Jones ......................................................................... 23 Through the Looking Glass by Dave Moore ........................................................ 27 Service In The Field Artillery by Steve Jacoby ..................................................... 32 A Vietnam story from Peter Quinton .................................................................... 64 Mike Cronin, Exemplary Graduate by Dick Nelson '64 ........................................ 66 SUNK by Ray Heins ............................................................................................. 72 TRIDENTS in the Vietnam War by A. Scott Wilson ............................................. 76 Tale of Cubi Point and Olongapo City by Dick Jones ........................................ 102 Ken Sanger's Rescue by Ken Sanger ................................................................ 106 -
Figured-Bass.Pdf
Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord. -
Grad Jazz Theory Entrance Exam Review
REVIEW GUIDE GRADUATE JAZZ THEORY ENTRANCE EXAMINATION WRITTEN PORTION • Voicings – (Students who have completed the jazz piano requirement are exempt from this portion of the exam) All voicings required for the purpose of this exam will be rootless close-position voicings, and will fall under one of two categories: • Guide Tone voicings, which contain only the 3rd and 7th of each chord. • Four-Note Rootless voicings, which contain two guide tones and two color tones. The color tones should adhere to the following guidelines: • For Major and Minor chords, the 5th and 9th should be used. • For Dominant chords, the 6th (13th) and 9th should be used. • For Altered Dominant chords, the color tones will be specified by the chord symbol. • All voicings must be built up from a guide tone rather than a color tone. • All voiced chord progressions must use proper voice leading within the guidelines specified by the previous requirements. • Scales You will be asked to construct and/or identify the following scales in any key in either bass or treble clef: • Minor (Dorian, Aeolian,Phrygian, Harmonic, Melodic), • Major • Dominant • Lydian • Lydian Dominant • Diminished • Diminished Whole-Tone (a.k.a. "Altered) • Locrian • Locrian #2 • Whole Tone You may be asked to build any of these scales from the information contained in a chord symbol, or to name any scale based on a notated version. GRADUATE JAZZ THEORY ENTRANCE EXAMINATION, page 2 • Analysis • Key Center Analysis: You will be asked to provide a Key Center Analysis including Roman Numerals for a specified progression. Similar to the type of analysis common in traditional theory when analyzing modulations. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth. -
Teaching Tuba Students to Be Complete Musicians Brandon E
The University of Akron IdeaExchange@UAkron The Dr. Gary B. and Pamela S. Williams Honors Honors Research Projects College Fall 2017 Teaching Tuba Students to be Complete Musicians Brandon E. Cummings [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/honors_research_projects Part of the Educational Methods Commons, Music Education Commons, and the Music Pedagogy Commons Recommended Citation Cummings, Brandon E., "Teaching Tuba Students to be Complete Musicians" (2017). Honors Research Projects. 577. http://ideaexchange.uakron.edu/honors_research_projects/577 This Honors Research Project is brought to you for free and open access by The Dr. Gary B. and Pamela S. Williams Honors College at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Honors Research Projects by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Running head: TEACHING TUBA STUDENTS TO BE COMPLETE MUSICIANS 1 Teaching Tuba Students to be Complete Musicians Brandon E. Cummings The University of Akron TEACHING TUBA STUDENTS TO BE COMPLETE MUSICIANS 2 Abstract The goal of music educators is to develop complete musicians who successfully learn and perform all musical concepts. One of the limitations of the band classroom is that performers are required to play a part that is specifically written with the needs of the ensemble in mind, and not the needs of the developing musician. -
Intro Pdf. Version
Vertical Harmony Concepts The purpose of this book is to familiarize the bassist with chord structures and to enhance his ability to solo intelligently and effectively. While many of these concepts can be applied to bass lines and fills, these exercises will focus more on soloing. The words "horn-like" are often used to describe solos that are fluid and graceful. To achieve this type of description, one needs to listen to, practice, transcribe and ultimately understand what a soloist is playing. The first step to understanding is knowing chord structures. As bassists, we typically aren't called upon to play chords. So why even know them? That is the question I get from many of my beginning students. Or, "just tell me the root, I'll figure it out from there" which usually means "I'll plod along on the root." We bassists are not only responsible for holding things together rhythmically; we are also the keepers of the harmony. If you don't understand how chords are constructed, how are you going to hold things together? Let alone solo? Playing root notes will only get you so far. Fortunately, knowing what it takes to construct a chord is easy, and by knowing the construction (quality), you should never play a "wrong" note. Intervals are what make up any type of musical structure. Everything you play will involve intervals. An understanding of intervals is essential for understanding music. An interval is the distance between two notes. In Western music there are twelve intervals. Each interval has a numerical identity. -
Workshop Descriptions Friday February 5 & 6, 2021
Workshop Descriptions Friday February 5 & 6, 2021 Organized Alphebetically by Instructor Abbreviations: HD=Hammered Dulcimer, MD=Mountain Dulcimer, BP=Bowed Psaltery, AH=Autoharp, PW=Penny Whistle, UK=Ukulele, MA=Mandolin, G= Guitar, CB+Clawhammer Banjo, FI=Fiddle Time is shown: Day (F=Friday, S=Saturday)-Session Number ex: Saturday Session 4 = S-4 Levels:1 = Absolute Beginner 2 = Novice 3 = Intermediate 4 = Upper Intermediate 5 = Advanced All = Non-Level Specific Title Inst. Lvl. Time Description Karen Alley As hammered dulcimer players, we often get wrapped up in notes and chords and tunes, and How to Hold Your forget about our hammers! The easiest time to start learning solid hammer technique is when you’re Hammers (and Use HD 1 F-3 first beginning. We’ll talk about different types of hammers, holding your hammers, and getting a Them, Too!) good sound out of your instrument. You’ll leave with exercises and concepts to help you build a solid foundation for your hammer technique. Someday soon we will be playing together again, and everyone will want to join in! Jam sessions Surviving a Jam can be intimidating if you’re new to the dulcimer (and even if you’re not!), but they don’t need to HD 2 F-4 Session be. We’ll talk about how jam sessions work, and work on simple melody and chord techniques you can use to join in even if you don’t know the tune. This class will help you move beyond playing single melody lines to building full solo arrangements on your dulcimer.