Pentatonic Minor Scale
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View Printable PDF of 4.2 the Modes of Minor
LearnMusicTheory.net 4.3.2 The Modes of Minor These modes use the same notes as the melodic minor scale, but start on different scale steps (except min-maj). So the parent scale of these modes is the melodic minor scale. Each is associated with a chord, shown below. 1. Min-maj 1st mode of the melodic minor scale C- w wmw ^ & w wmbw w w b9 §13 2nd mode of the melodic minor scale 2. Susb9 (§13) wmw w ("2nd mode" means it starts on scale step 2.) Dsusb9 (§13) & wmbw w w w Phrygian-dorian = Phyrgian + §13 #4 #5 3. Lydian aug. mbw 3rd mode of the melodic minor scale wmw w Lydian augmented = Lydian + #5 Eb ^ #5 & bw w w w #4 4. Lydian dominant 4th mode of the melodic minor scale w wmbw w F7#11 & w w w wm Lydian-mixolydian = Mixolydian + #4 5. Min-maj w w 5th mode of mel. minor wmw wmbw Functions as an inversion of C- C- ^ /G & w w ^ 6th mode of melodic minor 6. Half-diminished w w m w wmbw w Locrian with major 9 (§9) A-7b5 (§9) & w w Levine says "Locrian #2" w 7. Altered dominant wmbw w w w 7th mode mel. minor B7alt & wm w "diminished whole tone" Shortcuts from parallel scales You can also spell the modes starting from a major or minor scale on the same tonic pitch as that mode: D natural minor scale D phrygian-dorian scale (compare marked notes) lower Phrygian- I I 2nd step, I I dorian w bw w w raise _ w nw w w Dsusb9 (§13) & w w w _ & bw w w w 6th step _ w Eb major scale Eb lydian augmented scale Lydian aug. -
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! -
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. -
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. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions)
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions) by Chris Paul Harman Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract: The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in which the composer renders diatonic -
Chromatic Sequences
CHAPTER 30 Melodic and Harmonic Symmetry Combine: Chromatic Sequences Distinctions Between Diatonic and Chromatic Sequences Sequences are paradoxical musical processes. At the surface level they provide rapid harmonic rhythm, yet at a deeper level they function to suspend tonal motion and prolong an underlying harmony. Tonal sequences move up and down the diatonic scale using scale degrees as stepping-stones. In this chapter, we will explore the consequences of transferring the sequential motions you learned in Chapter 17 from the asymmetry of the diatonic scale to the symmetrical tonal patterns of the nineteenth century. You will likely notice many similarities of behavior between these new chromatic sequences and the old diatonic ones, but there are differences as well. For instance, the stepping-stones for chromatic sequences are no longer the major and minor scales. Furthermore, the chord qualities of each individual harmony inside a chromatic sequence tend to exhibit more homogeneity. Whereas in the past you may have expected major, minor, and diminished chords to alternate inside a diatonic sequence, in the chromatic realm it is not uncommon for all the chords in a sequence to manifest the same quality. EXAMPLE 30.1 Comparison of Diatonic and Chromatic Forms of the D3 ("Pachelbel") Sequence A. 624 CHAPTER 30 MELODIC AND HARMONIC SYMMETRY COMBINE 625 B. Consider Example 30.1A, which contains the D3 ( -4/ +2)-or "descending 5-6"-sequence. The sequence is strongly goal directed (progressing to ii) and diatonic (its harmonies are diatonic to G major). Chord qualities and distances are not consistent, since they conform to the asymmetry of G major. -
Mode Handout Without Examples
The 24 Essential Mode/Chord Structures Modes & Symbols of the Major Scale MAJOR SCALE MODE FORMULA I: MAJOR SCALE MODE SYMBOL I: 1-1(1) – IONIAN ma13 EXAMPLES: In the Key of C: C-C(C) With C as the Root: C-C(C) MAJOR SCALE FORMULA II: MAJOR SCALE MODE SYMBOL II: 2-2(1) – DORIAN mi13 EXAMPLES: In the Key of C: D-D(C) With C as the Root: C-C(Bb) MAJOR SCALE FORMULA III: MAJOR SCALE MODE SYMBOL III: 3-3(1) – PHRYGIAN mi11(b9,b13) EXAMPLES: In the Key of C: E-E(C) With C as the Root: C-C(Ab) MAJOR SCALE FORMULA IV: MAJOR SCALE MODE SYMBOL IV: 4-4(1) – LYDIAN ma13(#11) EXAMPLES: In the Key of C: F-F(C) With C as the Root: C-C(G) MAJOR SCALE FORMULA V: MAJOR SCALE MODE SYMBOL V: 5-5(1) – MIXOLYDIAN 13 EXAMPLES: In the Key of C: G-G(C) With C as the Root: C-C(F) MAJOR SCALE FORMULA VI: MAJOR SCALE MODE SYMBOL VI: 6-6(1) – AEOLIAN mi11(b13) EXAMPLES: In the Key of C: A-A(C) With C as the Root: C-C(Eb) MAJOR SCALE FORMULA VII: MAJOR SCALE MODE SYMBOL VII: 7-7(1) – LOCRIAN mi11(b5,b9,b13) EXAMPLES: In the Key of C: B-B(C) With C as the Root: C-C(Db) Modes & Symbols of the Melodic Minor Scale MELODIC MINOR FORMULA I: MELODIC MINOR SCALE MODE SYMBOL I: 1-1(1mm) – MELODIC MINOR mi(ma13) EXAMPLES: In the Key of Cmm: C-C(Cmm) With C as the Root: C-C(Cmm) MELODIC MINOR FORMULA II: MELODIC MINOR SCALE MODE SYMBOL II: 2-2(1mm) – DORIAN b2 Mi13(b9) EXAMPLES: In the Key of Cmm: D-D(Cmm) With C as the Root: C-C(Bbmm) MELODIC MINOR FORMULA III: MELODIC MINOR SCALE MODE SYMBOL III: 3-3(1mm) – LYDIAN AUGMENTED +ma13(#11) EXAMPLES: In the Key of Cmm: Eb-Eb(Cmm) -
Joe's Guitar Method Towards a Jazz Improviser's Technique
Joe’s Guitar Method Towards A Jazz Improviser’s Technique I. Intro Pg. 1 II. Tuning & Setup Pg. 5 A. The Grand Staff B. Using a Tuner C. Intonation D. Action and String Gauges E. About Whammy Bars III. Learning The Fretboard Pg. 11 A. The C Major Scale....(how to find the “natural” pitches on each string) IV. Basic Guitar Techniques Pg. 13 A. Overview B. Holding the Pick C. Fretting Hand: Placement of the Fingers D. String Dampening E. Fretting Hand: Placement Of the Thumb F. Fretting Hand: Finger Stretches G. Fretting Hand: The Wrist (About Carpal Tunnel Syndrome) H. Position Playing on Single Strings V. Single String Exercises Pg. 19 A. 6th String B. 5th String C. 4th String D. 3rd String E. 2nd String F. 1st String G. Phrasing Possibilities On A Single String VI. Chords: Construction/Execution/Basic Harmony Pg. 35 A. Triads 1. Construction 2. Movable Triadic Chord Forms a) Freddie Green Style - Part 1 (1) Strumming (2) Pressure Release Points (3) Rhythm Slashes (4) Changing Chords 3. Inversions 4. Open Position Major Chord Forms 5. Open Position - Other Triadic Chords a) Palm Mutes B. Seventh Chords 1. Construction 2. Movable Seventh Chord Forms 3. Open Position Seventh Chord Forms C. Chords With Added Tensions 1. Construction D. Simple Diatonic Harmony E. Elementary Voice Leading F. Changes To Some Standard Tunes 1. All The Things You Are 2. Confirmation 3. Rhythm Changes 4. Sweet Georgia Brown 5. All Of Me 5. All Of Me VII. Open Position Pg. 69 A. Overview B. Picking Techniques 1. -
A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum Alexis Joy Smerdon University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Education Commons, Music Pedagogy Commons, and the Music Theory Commons Recommended Citation Smerdon, Alexis Joy, "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4076 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Alexis Joy Smerdon entitled "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara A. Murphy, Major Professor We have read this thesis and recommend its acceptance: Kenneth Stephenson, Alex van Duuren Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Alexis Joy Smerdon August 2016 ii Copyright © 2016 by Alexis Joy Smerdon All rights reserved. -
Stravinsky and the Octatonic: a Reconsideration
Stravinsky and the Octatonic: A Reconsideration Dmitri Tymoczko Recent and not-so-recent studies by Richard Taruskin, Pieter lary, nor that he made explicit, conscious use of the scale in many van den Toorn, and Arthur Berger have called attention to the im- of his compositions. I will, however, argue that the octatonic scale portance of the octatonic scale in Stravinsky’s music.1 What began is less central to Stravinsky’s work than it has been made out to as a trickle has become a torrent, as claims made for the scale be. In particular, I will suggest that many instances of purported have grown more and more sweeping: Berger’s initial 1963 article octatonicism actually result from two other compositional tech- described a few salient octatonic passages in Stravinsky’s music; niques: modal use of non-diatonic minor scales, and superimposi- van den Toorn’s massive 1983 tome attempted to account for a tion of elements belonging to different scales. In Part I, I show vast swath of the composer’s work in terms of the octatonic and that the rst of these techniques links Stravinsky directly to the diatonic scales; while Taruskin’s even more massive two-volume language of French Impressionism: the young Stravinsky, like 1996 opus echoed van den Toorn’s conclusions amid an astonish- Debussy and Ravel, made frequent use of a variety of collections, ing wealth of musicological detail. These efforts aim at nothing including whole-tone, octatonic, and the melodic and harmonic less than a total reevaluation of our image of Stravinsky: the com- minor scales. -
The Consecutive-Semitone Constraint on Scalar Structure: a Link Between Impressionism and Jazz1
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz1 Dmitri Tymoczko The diatonic scale, considered as a subset of the twelve chromatic pitch classes, possesses some remarkable mathematical properties. It is, for example, a "deep scale," containing each of the six diatonic intervals a unique number of times; it represents a "maximally even" division of the octave into seven nearly-equal parts; it is capable of participating in a "maximally smooth" cycle of transpositions that differ only by the shift of a single pitch by a single semitone; and it has "Myhill's property," in the sense that every distinct two-note diatonic interval (e.g., a third) comes in exactly two distinct chromatic varieties (e.g., major and minor). Many theorists have used these properties to describe and even explain the role of the diatonic scale in traditional tonal music.2 Tonal music, however, is not exclusively diatonic, and the two nondiatonic minor scales possess none of the properties mentioned above. Thus, to the extent that we emphasize the mathematical uniqueness of the diatonic scale, we must downplay the musical significance of the other scales, for example by treating the melodic and harmonic minor scales merely as modifications of the natural minor. The difficulty is compounded when we consider the music of the late-nineteenth and twentieth centuries, in which composers expanded their musical vocabularies to include new scales (for instance, the whole-tone and the octatonic) which again shared few of the diatonic scale's interesting characteristics. This suggests that many of the features *I would like to thank David Lewin, John Thow, and Robert Wason for their assistance in preparing this article.