Musical Cadences

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Musical Cadences A cadence is a melodic or harmonic point of resolution or rest at the end of musical phrases. There are six main cadences shown below. Perfect Authentic Cadence (PAC) Imperfect Authentic Cadence (IAC) This cadence goes from tonic to dominant. This cadence goes from tonic to dominant. The soprano and bass end on tonic. The soprano and bass are not the same pitch. V I V I Half Cadence (HC) Phrygian Cadence (PHC) (Not as common) This cadence ends on dominant. This cadence is only in minor and ends on V. A iv6 – V featuring at flat submediant in the bass. I V iv6 V Plagal Cadence (PC) Deceptive Cadence (DC) The cadence goes from subdominant to tonic. This cadence goes from dominant to submediant. Also known as the “Amen” cadence. Used to extend an idea by not returning to tonic. IV I V vi Non-harmonic (Non-chord) Tones Chord and non-chord tones are defined by their membership in a chord. The pitches that make up a chord are called chord-tones: any other pitches are called non-chord tones. They are also defined by the time at which they sound Non-harmonic tones are pitches that sound along with a chord but are not chord pitches. > Passing Tone (PT) Accented Passing Tone (PT) Approached by step and resolved by step Approached by step and resolved by step in the same direction, between two beats. in the same direction, placed on the beat. Neighboring Tone (NT) Pedal Tone (PED) Approached by step, resolved by step One note held while the chords change in the opposite direction. around it. Found often in the bass voice. Cambiata (Changing Tone) (CT) Appoggiatura (APP) Approached by step with two dissonant Approached by leap, resolved by step. tones that skip/leap, resolved by step. Anticipation (ANT) Echappeé (Escape Tone) (ET) Approached by step and stays on same note. Approach by step, resolves by leap in the opposite direction. 7-6 Suspension (7-6 SUS) 4-3 Suspension (4-3 SUS) Note from previous chord is held suspended Note from previous chord is held suspended into the next chord before it resolves down. into the next chord before it resolves down. Suspended note is a 7th above the bass and Suspended note is a 4th above the bass and resolves to a 6th above the bass. resolves to a 3rd above the bass. 9-8 Suspension (9-8 SUS) Retardation (RT) Note from previous chord is held suspended Note from previous chord is held suspended into the next chord before it resolves down. into the next chord before it resolves UP. Suspended note is a 9th above the bass and resolves to a 8th above the bass. .

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AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success.
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02-11-Nonchordtones.Pdf
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Machine Learning of Symbolic Compositional Rules with Genetic Programming: Dissonance Treatment in Palestrina
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Com pany 300 North Z eeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9227220 Aspects of early major-minor tonality: Structural characteristics of the music of the sixteenth and seventeenth centuries Anderson, Norman Douglas, Ph.D.
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2.3 Third Species.Pages
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Third Species
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Schenker's Counterpoint
Another Look at Schenker's Counterpoint Steve Larson Heinrich Schenker's exemplary revision of the counterpoint method of Johann Joseph Fux combines insight into musical structure with thoughtful pedagogy and inspires two questions: (1) "How can we best incorporate Schenker's ideas into our teaching of counterpoint?"; and (2) "How do his revision of Fux's method (and or other writers' methods) suggest ways in which we might analogously revise Schenker's method?".1 But before turning to these questions, it might be appropriate to ask why strict counterpoint seems to be such a hot topic these days. Given the fact that most professional music-theory journals tend to focus on non-pedagogical topics, the focus of recent scholarships on strict counterpoint calls for an explanation. 2 Our explanation should ISome of the ideas in this paper were developed while doing research supported by a Summer Research Fellowship from Temple University, "Analytic Models from Trip1e Meter Species Counterpoint. " An earlier version of this paper was presented to the 1993 national meeting of the College Music Society in Minneapolis. 2Some recent articles which discuss the teaching of strict counterpoint are John Hanson, "Cantus Firmi for Species Counterpoint: Catalog and Characteristics," Journal of Music Theory Pedagogy 6 (1992): 43-81; David L. Mancini, "Using Species 36 Indiana Theory Review, Vol. 15/1 probably put Schenker at center stage: Schenker's theories continue to be popular in the American academy - and he was a strong advocate of species counterpoint. Thus, the recent publication of Rothgeb and Thym's excellent English translation of Schenker's Counterpoint will likely add to both the popularity of Schenker's theories and the popularity of early instruction in strict counterpoint.
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The Cambiata Concept=-= Peculiar
I do not remember the first time I met Irvin Cooper. I wish I could. It must have been during the fall of 1967. I am sur prised that I do not remember. He is not the type one would easily forget. Physically, he was striking - strikingly The Cambiata Concept=-= peculiar. He was rather short, stocky, and broad. He had a marvelously rotund stomach and at his age (he was around 67 when I first encountered him) his walk, or better still, his More Than Just About gait was reminiscent of that of an overweight banty rooster who had stuffed his craw so full he was about to tip over. All Changing Voices he needed was a red suit and white beard to make the perfect midget Santa Claus. And he smoked a pipe - that infernal By Don L. Collins pipe! As a graduate student I had a briefcase that I have car Cambiata Vocal Music Institute of America, Inc. ried almost ten years since I left Florida State University. I Conway, AR opened it so many times in his presence that when I open it today, I can still smell the odor of stale, stagnant, burned tobacco! Around the turn of the century England gave birth to a "Cambiata Concept", even though it was not called such at man destined to become one of America's leading music edu the beginning, and that is: Boys can sing completely cators - one who was to develop an idea that would in throughout vocal mutation without any detriment to the fluence music education throughout the world.
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Music Theory Counterpoint
Third,Fourth, and Fifth Species Counterpoint Glen Halls ©All Rights Reserved Third Species Counterpoint basically refers to a four-to-one ratio of moving notes with respect to the cantus firmus or original,single tone. ( Three-to-one for triplet-type meters ) Third species gives the potential for generating rhythmic interest, filling in relatively large melodic leaps as a stepwise line, and at the same time to express the harmony more fully if appropriate. ( I.e. it allows you to move to and through the third tone of a triad by line and not leap ) In the strict style third species does seem to carry the most restrictions. It is curious in some respects: on the one hand, the rhythmic relationship between original and counterpoint is the most extreme permitted in the style. Considering a phrase as a whole, a measure of third species rhythmic subdivison is already an 'accent', if entered suddendly. If approached gradually, however, third species relations seem to give an entire phrase a point of natural climax.( note: An excerise in 3rd species implies only 3 or 4 to one relations, but in actual music one typically encounters a variety of rhythms and mixtures of species. We refer to this as 5th species, or free counterpoint. Acutally that's another strange term. Free Species counterpoint is still not as free as Bach-style counterpoint, which is instrumental in nature and permits all manor of leaps and expressive melodic accents. ) Given the 'heightened interest' inherent in 3rd species, this might account for the large number of rules incurred which , really, limit accent in the parameters of dissonance treatment and countour.
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Arizona ACDA Changing Voice.Pptx
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