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Handout

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Music vocab quiz, letters B and D

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Learning handout

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Sequences - Music Theory Academy - melodic and harmonic sequences

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A sequence is where a passage of music is repeated at a higher or lower level of pitch. The repeat can be an exact transposition - a real sequence or the intervals can be changed - a tonal sequence.

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Theory and examples

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Introduction

Melody is a timely arranged linear sequence of pitched sounds that the listener perceives as a single entity.

Melody is one of the most basic elements of music. A note is a sound with a particular pitch and duration. String a series of notes together, one after the other, and you have a melody. But the melody of a piece of music isn't just any string of notes. It's the notes that catch your ear as you listen; the line that sounds most important is the melody. First of all, a melodic line of a piece of music is a succession of notes that make up a melody. Extra notes, such as trills and slides, that are not part of the main melodic line but are added to the melody either by the composer or the performer to make the melody more complex and interesting are called ornaments or embellishments.

Examples of Melody:

There are some common terms used in discussions of melody that you may find it useful to know. Below are some more concepts that are associated with melody.

The Shape or Contour of a Melody

A melody that stays on the same pitch gets boring pretty quickly. As the melody progresses, the pitches may go up or down slowly or quickly. One can picture a line that goes up steeply when the melody suddenly jumps to a much higher note, or that goes down slowly when the melody gently falls. Such a line gives the contour or shape of the melodic line. You can often get a good idea of the shape of this line by looking at the melody as it is written on the staff, but you can also hear it as you listen to the music.

You can also describe the shape of a melody verbally. For example, you can speak of a "rising melody" or of an "arch-shaped"phrase.

Listen: Ascending, Descending, and Arch

Composer Richard Strauss's Don Juan is a good example of ascending melody:

"Joy to the World" by composer George Frideric Handel demonstrated descending melody:

Composer Dmitri Shostakovich's Romance exemplifies the arch shape, in which the melody rises and then falls.

Melodic Motion

Another set of useful terms describe how quickly a melody goes up and down. A melody that rises and falls slowly, with only small pitch changes between one note and the next, is conjunct. One may also speak of such a melody in terms of step-wise or scalar motion, since most of the intervals in the melody are half or whole steps or are part of a scale.

A melody that rises and falls quickly, with large intervals between one note and the next, is a disjunct melody. One may also speak of "leaps" in the melody. Many melodies are a mixture of conjunct and disjunct motion. A melody may show conjunct motion, with small changes in pitch from one note to the next, or disjunct motion, with large leaps. Many melodies are an interesting, fairly balanced mixture of conjunct and disjunct motion.

Listen: Conjunct and Disjunct Melody

Start listening at the 2:30 mark to Beethoven, "Ode to Joy" from Symphony No. 9 and note how the pitch rises and falls slowly, creating conjunct melody.

A good example of disjunct melody can be found in Piazzolla's, "Spring" tango for violin, cello, and piano.

Can you tell whether Chopin's"Nocturne in E-Flat Major," Op. 9 no. 2 is conjunct, disjunct, or a combination of both?

Melodic Range

Range refers to the distance between the highest and lowest notes found in a given melody. When a piece of music has wide range, there is a great distance between the highest and lowest pitches heard. Conversely, when a piece of music has narrow range the distance between the highest and lowest pitches is relatively small.

Listen: Wide and Narrow Range

As you listen to Bach's Brandenburg Concerto No. 5, in D Major, 1st Movement , note that the piece has a wide range in pitch.

Now listen to Brahms, Violin Concerto in D, 3rd movement, and note that it's range is narrow compared to the Brandenburg Concerto.

Melodic Phrases

Melodies are often described as being made up of phrases. A musical phrase is actually a lot like a grammatical phrase. A phrase in a sentence (for example, "into the deep, dark forest" or "under that heavy book") is a group of words that make sense together and express a definite idea, but the phrase is not a complete sentence by itself. A melodic phrase is a group of notes that make sense together and express a definite melodic "idea", but it takes more than one phrase to make a complete melody.

How do you spot a phrase in a melody? Just as you often pause between the different sections in a sentence (for example, when you say, "wherever you go, there you are"), the melody usually pauses slightly at the end of each phrase. In vocal music, the musical phrases tend to follow the phrases and sentences of the text. For example, listen to the phrases in the melody of "The Riddle Song" and see how they line up with the four sentences in the song.

But even without text, the phrases in a melody can be very clear as the notes are still grouped into melodic "ideas."

One way that a composer keeps a piece of music interesting is by varying how strongly the end of each phrase sounds like "the end". By varying aspects of the melody, the rhythm, and the harmony, the composer gives the ends of the other phrases stronger or weaker "ending" feelings. Often, phrases come in definite pairs, with the first phrase feeling very unfinished until it is completed by the second phrase, as if the second phrase were answering a question asked by the first phrase. When phrases come in pairs like this, the first phrase is called the antecedent phrase, and the second is called the consequent phrase.The rhythm of the first two phrases of "Auld Lang Syne" is the same, but both the melody and the harmony lead the first phrase to feel unfinished until it is answered by the second phrase.
Antecedent and Consequent Phrases

Listening Activity: Range, Motion and Contour

Define the melody of this composition in terms of range, motion, and contour. J.S. Bach's Brandenburg Concerto #6, first movement

Motive or Motif

Another term that usually refers to a piece of melody (although it can also refer to a rhythm or a chord progression) is motive or "motif". A motive is a short musical idea - shorter than a phrase - that occurs often in a piece of music. A motive may only consist of a few pitches or maybe divided in smaller cells.

Most figures and motifs are shorter than phrases, but some of the leitmotifs of Wagner's operas are long enough to be considered phrases. A leitmotif (whether it is a very short cell or a long phrase) is associated with a particular character, place, thing, or idea in the opera and may be heard whenever that character is on stage or that idea is an important part of the plot. As with other motifs, leitmotifs may be changed when they return. For example, the same melody may sound quite different depending on whether the character is in love, being heroic, or dying.

Themes

A longer melody that at times keeps reappearing in the music - for example, in a "theme and variations" - is often called a theme. Themes generally are at least one phrase long and often have several phrases. Many longer works of music, such as symphony movements, have more than one melodic theme.

The musical scores for movies and television contain themes, which can be developed as in a symphony or may be used very much like operatic leitmotifs. For example, in the music John Williams composed for the Star Wars movies, there are melodic themes that are associated with the main characters. These themes are often complete melodies with many phrases, but a single phrase can be taken from the melody and used as a motif. A single phrase of Ben Kenobi's Theme, for example, can remind you of all the good things he stands for, even if he is not on the movie screen at the time.

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Melody is a timely arranged linear sequence of pitched sounds that the listener perceives as a single entity. Melody is one of the most basic elements of music. A note is a sound with a particular pitch and duration. String a series of notes together, one after the other, and you have a melody.

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Beginners guide

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Most of these musical styles developed into their current form during the Classical period. During the Romantic period and the twentieth century, the musical boundaries expanded so that these styles became more free and varied, or broke out from these style altogether. The major musical styles are:

Symphony

A large-scale work for full orchestra. Usually consists of four movements or sections, often alternating fast-slow. Beethoven's ninth symphony was the first to break with tradition in that he included vocal soloists and a full choir into the final movement. Other composers who wrote well-known symphonies are Haydn (wrote 104 of them), Mozart, Schubert, Brahms, Tchaikovsky, Mahler and later Prokofiev and Shostakovich.

Concerto

Also a large-scale work for full orchestra but with the addition of an instrumental soloist. Most commonly this is a piano, violin or cello, but can be any instrument of the orchestra. The interplay between the orchestra and the soloist is the distinguishing feature of the concerto. Vivaldi's Four Seasons is a collection of four violin concertos. Other great concertos include the violin concertos of Beethoven, Brahms, Tchaikovsky and Sibelius, the piano concertos of Mozart, Beethoven, and Tchaikovsky and the cello concertos of Dvorak and Elgar.

Suite

A collection of short musical pieces, usually dances, to form a larger work. Can be for orchestra or solo instrument. Best known are Tchaikovsky's Nutcracker suite and Respighi's Ancient Airs and Dances.

Opera

Operas are very large scale pieces that are a mixture of music and theatre. Operas usually contain a full orchestra, solo singers and choir, who are required to act as well as sing. Operas can also be enjoyed for their music content alone. Well known operas are Mozart's Magic Flute, Bizet's Carmen, Wagner's Ring cycle (a huge set of four operas) and Puccini's Madame Butterfly.

Chamber Music

A quaint definition is that chamber music is for a small group of listeners. More precisely, it is for a small group of performers, ranging for one (eg a sonata) to about six or eight (a sextet and octet). They can include any types of instruments in combination, and the focus again is on the interplay between the instruments.

Sonata

The equivalent of a symphony but for just one or two instruments. A piano sonata is usually a piano alone (Beethoven wrote 31 of them) while a violin sonata usually has a piano accompaniment.

Duos, Trios, Quartets, Quintets, Sextets, Octets

Music for small groups of instruments. They can include any types of instruments in combination, and the focus again is on the interplay between the instruments. The most famous style is the string quartet, which is made up of 2 violins, viola and cello. These are usually very complex, serious pieces.

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goodmusicguide.com beginners beginner's guide to classical music compact disc cd reviews goodmusicguide listening guide sonata symphony suite concerto chamber pera

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Most of these musical styles developed into their current form during the Classical period. During the Romantic period and the twentieth century, the musical boundaries expanded so that these styles became more free and varied, or broke out from these style altogether. The major musical styles are: A large-scale work for full orchestra.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Website tutorial for explicit music theory ;)

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Here's why it exists -- but is it useful for you?

Feb 4, 2020 - SHARE THIS -

Once you start learning and studying music a little bit you're bound to come across the Circle of 5ths.

It sounds so official and important.

THE CIRCLE OF 5THS.

Almost like some ancient secret order.

And it can be daunting or confusing if you don't know what it is -- or WHY it exists.

I'm here to tell you what it is ... BUT

It will be up to YOU to decide whether you think it's something that can be useful for you.

I know many pianists who never use the Circle of 5ths. For them, it's not super helpful or applicable to their practice or playing.

So here we go...

Basically the Circle of 5ths is designed to help you know and learn all the scales and key signatures. You can learn every major scale and its key signature -- and you can learn all the relative minor scales.

The Circle is great at showing patterns which helps make it easier to learn and remember.

How does it do this?

Let me show you...

The Circle of 5ths

Now, this can be a lot to take in, so we'll take it slowly. Start at the top - C major. Everybody loves C major.

The first thing to notice is that if you move around the circle in a clockwise direction (to the right), everything moves in an interval of a 5th. C to G is a 5th. G to D is a 5th and so on.

That's why it's called the Circle of 5ths!

The next thing to notice is the keys on the INSIDE of the circle. Those are the relative minor keys for the major scales. For example, A minor is the relative minor of C major (they have the same key signature). E minor is the relative minor of G and so on. These relative minors also move around in intervals of 5ths.

Ok back to C major. You know that C major has no sharps or flats. So move one position around to G major (up a 5th remember) and you'll see that G major has ONE sharp (F#). Keep moving to the next key (D major) and you'll see that it has 2 sharps. The next key (A major) has 3 sharps.

Do you see the pattern here?

So a big use for the Circle of 5ths is to help you learn which key signatures have sharps and flats, and how many sharps or flats they have.

But that's not all...

The Circle of 5ths can also show you the ORDER of the sharps and flats.

Let's start with the order of sharps

Look at the Circle again:

G major has one sharp -- F#.

The next key around is D major. It has 2 sharps -- F# and C#.

Now look at the circle and find F. Do you see what's just to the right of it? C!

Now let's move to the next key after D. That's A major. Can you guess what sharps A major has?

F#, C# and ...

G#.

The order of the sharps in key signatures is shown by the Circle of 5ths.
F-C-G-D-A-E
Pretty cool hey?

You can follow this pattern all the way around to the bottom of the circle. That's where things get messy and confusing.

I like to think of the bottom of the Circle as the Twilight Zone -- because there are keys that can be either sharps or flats -- depending on how you want to think of them.

Now, you COULD keep going around clockwise -- but what I (and most people) like to do is go back to the top and re-start -- this time going counter-clockwise.

So that's what we're going to do.

The order of flats

Back at top with C, let's see the Circle one more time:

Instead of going right, we are going to go left. You may realize that the intervals have changed now. C to F is not a 5th, it's a 4th.

That's the reason why this can also be called the Circle of 4ths. But here's something cool...

While C to F is a 4th, F to C is a 5th. So you can think of it as going UP a 4th, or DOWN a 5th. That's a really neat thing about music intervals. 4ths and 5ths are mirror-images of each other!

So moving left from C lands you on F. And now you're moving to the side of the Circle where the keys have FLATS instead of sharps.

But the patterns are very similar.

The first key to the left of C (F major) has ONE flat, just like the first key to the right of C (G major) has one sharp.

Moving another key to the left and you land on Bb major, which has TWO flats.

You know where this is going...

And just like you can use the Circle to learn the order of sharps, you can do the same thing to learn the order of flats.

The first flat is on a B (Bb in the key of F). So find B on the Circle.

Moving counter-clockwise will tell you the order of flats.
B-E-A-D-G-C
Cool story, now what?

Well ... not much honestly.

This is the Circle of 5ths (or 4ths).

Personally I have found it really useful to learn the major and minor keys and their key signatures. I find it helps to learn the Circle of 5ths while you're sitting at the piano, so you can visualize things as you learn them.

But what about you? Now that you know how the Circle is built and how to read it, do you think it's helpful?

Or is the Circle of 5ths useless?

Comment to let me know.

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Feb 4, 2020 - SHARE THIS - Once you start learning and studying music a little bit you're bound to come across the Circle of 5ths. It sounds so official and important. THE CIRCLE OF 5THS. Almost like some ancient secret order.

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Listening Map

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Listening map

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"The MS belongs to the 'Yang' tradition, the most highly involved and regarded chant tradition in Tibetan music, and the only one to rely on a system of notation (Yang-Yig). The chant consists of...

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FOLI (there is no movement without rhythm) original version by Thomas Roebers and Floris Leeuwenberg

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How to cite youtube links

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This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

MLA Works Cited: Electronic Sources (Web Publications)
Summary:
MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook (8 th ed.), offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page.

It is always a good idea to maintain personal copies of electronic information, when possible. It is good practice to print or save web pages or, better, use a program like Adobe Acrobat to keep your own copies for future reference. Most web browsers will include URL/electronic address information when you print, which makes later reference easy. Also, you might use the Bookmark function in your web browser in order to return to documents more easily.

MLA uses the phrase, "Accessed" to denote which date you accessed the web page when available or necessary. It is not required to do so but especially encouraged when there is no copyright date listed on a website.

Important Note on the Use of URLs in MLA

Include a URL or web address to help readers locate your sources. Because web addresses are not static (i.e., they change often) and because documents sometimes appear in multiple places on the web (e.g., on multiple databases), MLA encourages the use of citing containers such as Youtube, JSTOR, Spotify, or Netflix in order to easily access and verify sources. However, MLA only requires the www. address, so eliminate all https:// when citing URLs.

Many scholarly journal articles found in databases include a DOI (digital object identifier). If a DOI is available, cite the DOI number instead of the URL.

Online newspapers and magazines sometimes include a "permalink," which is a shortened, stable version of a URL. Look for a "share" or "cite this" button to see if a source includes a permalink. If you can find a permalink, use that instead of a URL.

Abbreviations Commonly Used with Electronic Sources

If page numbers are not available, use par. or pars. to denote paragraph numbers. Use these in place of the p. or pp. abbreviation.

Basic Style for Citations of Electronic Sources (Including Online Databases)

Here are some common features you should try to find before citing electronic sources in MLA style. Not every Web page will provide all of the following information. However, collect as much of the following information as possible both for your citations and for your research notes:

Author and/or editor names (if available); last names first.

"Article name in quotation marks."

Title of the website, project, or book in italics.

Any version numbers available, including editions (ed.), revisions, posting dates, volumes (vol.), or issue numbers (no.).

Publisher information, including the publisher name and publishing date.

Take note of any page numbers (p. or pp.) or paragraph numbers (par. or pars.).

URL (without the https://) DOI or permalink.

Date you accessed the material (Date Accessed)-While not required, it is highly recommended, especially when dealing with pages that change frequently or do not have a visible copyright date.

Remember to cite containers after your regular citation. Examples of containers are collections of short stories or poems, a television series, or even a website. A container is anything that is a part of a larger body of works.

Use the following format:

Author. "Title." Title of container (self contained if book), Other contributors (translators or editors), Version (edition), Number (vol. and/or no.), Publisher, Publication Date, Location (pages, paragraphs and/or URL, DOI or permalink). 2nd container's title, Other contributors, Version, Number, Publisher, Publication date, Location, Date of Access (if applicable).

Citing an Entire Web Site

It is a good idea to list your date of access because web postings are often updated, and information available on one date may no longer be available later. When using the URL, be sure to include the complete address for the site except for the https://.

Editor, author, or compiler name (if available). Name of Site. Version number, Name of institution/organization affiliated with the site (sponsor or publisher), date of resource creation (if available), URL, DOI or permalink. Date of access (if applicable).

The Purdue OWL Family of Sites. The Writing Lab and OWL at Purdue and Purdue U, 2008, owl.english.purdue.edu/owl. Accessed 23 Apr. 2008.

Felluga, Dino. Guide to Literary and Critical Theory. Purdue U, 28 Nov. 2003, www.cla.purdue.edu/english/theory/. Accessed 10 May 2006.
Course or Department Websites
Give the instructor name. Then list the title of the course (or the school catalog designation for the course) in italics. Give appropriate department and school names as well, following the course title.

Felluga, Dino. Survey of the Literature of England. Purdue U, Aug. 2006, web.ics.purdue.edu/~felluga/241/241/Home.html. Accessed 31 May 2007.

English Department. Purdue U, 20 Apr. 2009, www.cla.purdue.edu/english/.

A Page on a Web Site

For an individual page on a Web site, list the author or alias if known, followed by an indication of the specific page or article being referenced. Usually, the title of the page or article appears in a header at the top of the page. Follow this with the information covered above for entire Web sites. If the publisher is the same as the website name, only list it once.

An Image (Including a Painting, Sculpture, or Photograph)

Provide the artist's name, the work of art italicized, the date of creation, the institution and city where the work is housed. Follow this initial entry with the name of the Website in italics, and the date of access.

Goya, Francisco. The Family of Charles IV. 1800. Museo Nacional del Prado, Madrid. Museo Nacional del Prado, www.museodelprado.es/en/the-collection/art-work/the-family-of-carlos-iv/f47898fc-aa1c-48f6-a779-71759e417e74. Accessed 22 May 2006.

Klee, Paul. Twittering Machine. 1922. Museum of Modern Art, New York. The Artchive, www.artchive.com/artchive/K/klee/twittering_machine.jpg.html. Accessed May 2006.

If the work is cited on the web only, then provide the name of the artist, the title of the work, and then follow the citation format for a website. If the work is posted via a username, use that username for the author.

Adams, Clifton R. "People Relax Beside a Swimming Pool at a Country Estate Near Phoenix, Arizona, 1928." Found, National Geographic Creative, 2 June 2016, natgeofound.tumblr.com/.

An Article in a Web Magazine

Provide the author name, article name in quotation marks, title of the web magazine in italics, publisher name, publication date, URL, and the date of access.

An Article in an Online Scholarly Journal

For all online scholarly journals, provide the author(s) name(s), the name of the article in quotation marks, the title of the publication in italics, all volume and issue numbers, and the year of publication. Include a URL, DOI, or permalink to help readers locate the source.
Article in an Online-only Scholarly Journal
MLA requires a page range for articles that appear in Scholarly Journals. If the journal you are citing appears exclusively in an online format (i.e. there is no corresponding print publication) that does not make use of page numbers, indicate the URL or other location information.

Dolby, Nadine. "Research in Youth Culture and Policy: Current Conditions and Future Directions." Social Work and Society: The International Online-Only Journal, vol. 6, no. 2, 2008, www.socwork.net/sws/article/view/60/362. Accessed 20 May 2009.
Article in an Online Scholarly Journal That Also Appears in Print
Cite articles in online scholarly journals that also appear in print as you would a scholarly journal in print, including the page range of the article. Provide the URL and the date of access.

An Article from an Online Database (or Other Electronic Subscription Service)

Cite online databases (e.g. LexisNexis, ProQuest, JSTOR, ScienceDirect) and other subscription services as containers. Thus, provide the title of the database italicized before the DOI or URL. If a DOI is not provided, use the URL instead. Provide the date of access if you wish.

Alonso, Alvaro, and Julio A. Camargo. "Toxicity of Nitrite to Three Species of Freshwater Invertebrates." Environmental Toxicology, vol. 21, no. 1, 3 Feb. 2006, pp. 90-94. Wiley Online Library, doi:10.1002/tox.20155.

Langhamer, Claire. "Love and Courtship in Mid-Twentieth-Century England." Historical Journal, vol. 50, no. 1, 2007, pp. 173-96. ProQuest, doi:10.1017/S0018246X06005966. Accessed 27 May 2009.

E-mail (including E-mail Interviews)

Give the author of the message, followed by the subject line in quotation marks. State to whom the message was sent with the phrase, "Received by" and the recipient's name. Include the date the message was sent. Use standard capitalization.

Kunka, Andrew. "Re: Modernist Literature." Received by John Watts, 15 Nov. 2000.

Neyhart, David. "Re: Online Tutoring." Received by Joe Barbato, 1 Dec. 2016.

A Listserv, Discussion Group, or Blog Posting

Cite web postings as you would a standard web entry. Provide the author of the work, the title of the posting in quotation marks, the web site name in italics, the publisher, and the posting date. Follow with the date of access. Include screen names as author names when author name is not known. If both names are known, place the author's name in brackets.

Editor, screen name, author, or compiler name (if available). "Posting Title." Name of Site, Version number (if available), Name of institution/organization affiliated with the site (sponsor or publisher), URL. Date of access.

Salmar1515 [Sal Hernandez]. "Re: Best Strategy: Fenced Pastures vs. Max Number of Rooms?" BoardGameGeek, 29 Sept. 2008, boardgamegeek.com/thread/343929/best-strategy-fenced-pastures-vs-max-number-rooms. Accessed 5 Apr. 2009.

A Tweet

Begin with the user's Twitter handle in place of the author's name. Next, place the tweet in its entirety in quotations, inserting a period after the tweet within the quotations. Include the date and time of posting, using the reader's time zone; separate the date and time with a comma and end with a period. Include the date accessed if you deem necessary.

A YouTube Video

Video and audio sources need to be documented using the same basic guidelines for citing print sources in MLA style. Include as much descriptive information as necessary to help readers understand the type and nature of the source you are citing. If the author's name is the same as the uploader, only cite the author once. If the author is different from the uploader, cite the author's name before the title.

"8 Hot Dog Gadgets put to the Test." YouTube, uploaded by Crazy Russian Hacker, 6 June 2016, www.youtube.com/watch?v=WBlpjSEtELs.

McGonigal, Jane. "Gaming and Productivity." YouTube, uploaded by Big Think, 3 July 2012, www.youtube.com/watch?v=mkdzy9bWW3E.

A Comment on a Website or Article

List the username as the author. Use the phrase, Comment on, before the title. Use quotation marks around the article title. Name the publisher, date, time (listed on near the comment), and the URL.

Not Omniscent Enough. Comment on "Flight Attendant Tells Passenger to 'Shut Up' After Argument Over Pasta." ABC News, 9 Jun 2016, 4:00 p.m., abcnews.go.com/US/flight-attendant-tells-passenger-shut-argument-pasta/story?id=39704050.

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MLA Works Cited: Electronic Sources // Purdue Writing Lab

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This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice. Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission.

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A step by step guide

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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sensei video series

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How Musicians Can Practice More Efficiently

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If you enjoyed this video, it would mean the world to me if you considered supporting my channel over at https://www.patreon.com/samuraiguitarist This content takes a lot of time and effort to produce. By supporting my page you make these videos possible!

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with audios and scores

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Satie - 3 Morceaux en Forme de Poire ( free piano sheet )

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Analysis of Bach's fugue BWV 851 in D Minor (WTC I) - Exposition

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The BWV 851 fugue in D minor is an excellent example of effective use of contrapuntal techniques like transformation by inversion or contrary motion, invertible counterpoint and stretti.

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From Baroque to Romanticism

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baroque classical romantic listening quiz

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Revision for GCSE music - can you identify whether each extract is from Baroque, Classical or Romantic periods, and justify your choice? 10 questions. ANSWERS: 1. Romantic 2. Baroque 3. Romantic 4. Classical 5. Baroque 6. Baroque 7. Romantic 8. Classical 9. Baroque 10. Classical

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For preparation to a theory test

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World music, broadly speaking, music of the world's cultures. In the 1980s the term was adopted to characterize non-English recordings that were released in Great Britain and the United States. Employed primarily by the media and record stores, this controversial category amalgamated the music of such diverse sources as Tuvan throat singers, Zimbabwean guitar bands, and Pakistani qawwalī ( Sufi-music) singers, as well as nonmainstream Western folk musicians such as Cajun fiddlers and Hawaiian slack-key guitarists. Previously, international music had limited currency as a catchall term that ranged from tourist souvenir records to field recordings made by ethnomusicologists in Africa, Asia, and elsewhere. Although purists argued that no musical style could be identified as "world music," the term was coined to bring "foreign" music closer to the mainstream of Western popular music. In many ways the history of world music is the story of the marketing of foreign music by Western record companies. Despite these commercial origins, by the early 1990s the term had precipitated a change in the consciousness of musicians and producers, and world music had become a bona fide musical genre.

Early history

The birth of world music can be dated to 1982-83, when British and American promoters, record companies, distributors, and stores, as well as some journalists and broadcasters, began to promote music from other countries, especially African music, which for a time was virtually synonymous with world music. The clearest sign of the growing interest in African music was the success of Nigerian juju bandleader King Sunny Ade, whose first two internationally released albums for Island Records sold more than 100,000 copies each in the United States in 1983-84. This figure-less than half of Ade's sales in Nigeria and much less than the millions in sales that defined success for Western popular performers-established a benchmark for the many new companies that emerged in response to the attention attracted by world music. The phrase world music was adopted by a group of British independent labels who believed they would get better access to record stores and more media recognition if they could agree to formalize one generic description. Their hope was to bring together the diverse strands that included music from not only all areas of Africa but also eastern Europe, Asia, South and Central America, and the Caribbean.

© Chris Water-Retna Ltd.

Paradoxically, world music was often synonymous with local or regional music, and interpretations of what fitted tended to shift from one country to the next. Although some artists from countries on the margins of the Western popular music market could now aspire to a worldwide audience, those who took superstars such as Michael Jackson, Madonna, and Bob Marley as their role models were usually frustrated by the idiosyncratic tastes of world music mediators. World music was welcomed for its "authenticity," as a counterpoint to the increasingly synthetic and robotic sounds favoured by Western pop producers during the 1980s.

Mapfumo, Thomas© Mordac.org

Among the few exceptions to this rule were several local stars from Francophone West Africa and North Africa, some of whom achieved international success with records made for labels based in France. In 1982 the independent Celluloid label was among the first to bridge the gap between immigrant and indigenous European markets, selling more than 300,000 albums by the Senegalese group Touré Kunda and following through with Senegalese bandleader Youssou N'Dour's groundbreaking Immigrés album in 1984. Barclay Records had a long history of making commercial pop records with artists from Africa and the French Antilles and sold more than a million singles in Europe by world music artists Mory Kanté from Guinea ("Yé ké yé ké" [1987]) and Khaled from Algeria ("Didi" [1992] and "Aisha" [1996]).

World music in Britain and the United States

Most of the world music labels launched in Britain between 1983 and 1986 had much lower sales horizons and only a few survived, notably Hannibal, Stern's Africa, World Circuit, and rock singer Peter Gabriel's Real World Records. Gabriel's support had been instrumental in the formation and survival of the annual World of Music, Arts and Dance (WOMAD) festivals, which began in 1982 and played a vital role in introducing many artists who later became leading world music figures, including Youssou N'Dour and Pakistani qawwalī singer Nusrat Fateh Ali Khan.

Several American labels-notably Rounder, Rykodisc, and Shanachie-initiated or extended their world music repertoires during this period, when three established American rock artists- Paul Simon, David Byrne, and Ry Cooder-played a vital role in helping to expand the world music market. Simon's Grammy Award-winning album Graceland (1986) featured black South African musicians who controversially recorded and toured with him despite a widespread trade boycott of South Africa. The album proved quite popular. In the wake of its success, record stores became more willing to stock world music, including the a cappella group Ladysmith Black Mambazo and the mbaqanga group Mahlathini and the Mahotella Queens.

Byrne, formerly of the Talking Heads, hired Latin American musicians to play on his solo albums and launched his Luaka Bop label with a series of well-conceived compilations of music from Brazil, Cuba, Cape Verde, and Peru. Slide guitarist Ry Cooder relaunched his recording career in the 1990s with collaborations with the Indian musician V.M. Bhatt, the Malian guitarist Ali Farka Touré, and a group of veteran Cuban musicians in Havana collectively called the Buena Vista Social Club.

Later developments

Industry recognition of world music came in 1990, when the influential American trade magazine Billboard introduced a world music chart. A year later the National Academy of Recording Arts and Sciences added a world music category to its Grammy Awards. Among the artists who benefited most from this new visibility were the Gipsy Kings, the French pop- flamenco group that sweetened strong vocals with strummed guitars, catchy songs, and a neo-disco beat; an avalanche of Irish-related artists, many featuring the word Celtic in their album titles, that included 1997 Grammy winners the Chieftains; Cesaria Evora, a smoky-voiced nightclub singer from Cape Verde; and several "ambient-global," or " ethnotechno," projects, including Enigma (from Germany) and Deep Forest (1995 Grammy winners from France), who merged so-called ethnic voice samples with state-of-the-art rhythm programming.

Koch/Stills/Retna Ltd.

Charlie Gillett

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World music, broadly speaking, music of the world's cultures. In the 1980s the term was adopted to characterize non-English recordings that were released in Great Britain and the United States. Employed primarily by the media and record stores, this controversial category amalgamated the music of

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Strategies for success

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As you prepare for the IB Music exam, remember to develop strategies and methods for answering the IB Music Listening Paper questions. Decide which strategies work best for you or come up with your own, or a combination of those listed below. Use the approach that provides a guide to writing detailed answers in the shortest period of time. For this exam, the more evidence you provide for your assessment, the more likely you are to receive higher marks.

STRATEGY 1: HAVE A PLAN

Prior to the start of the exam, have a pre-composed outline you will use that is timed. Different questions demand different approaches but a pre-composed outline can help you organize your thoughts into a reasoned argument. The challenge is to quickly assess WHAT IS RELEVANT IN EACH EXTRACT AND CREATE A REASONED ARGUMENT BY USING TERMINOLOGY through the use of musical elements, structure and context. You can adjust the time as necessary and to the demands of the question. A basic guide will keep you focused and moving through the rubric. It is ESSENTIAL TO YOUR SUCCESS. Choose one of the examples below or create our own.

TIP: Write the outline on the provided notation paper and cross off the categories after you write about them. This can help remind you to stay on track and not forget the context.

Timing Yourself

Note: Times should be adjusted as you go through your practice sample questions. You may need longer to outline structure as well in different questions. Make sure you address ALL of the criteria. Remember for SL there are four questions in two hours or an average of 30 minutes each. HL there are five questions in two and half hours or an average of 30 minutes each. (Note, specific exam questions are not timed by the proctor. Also the number of minutes can be adjusted to the difficulty of the question. For example, 20 minutes on one question and perhaps 40 minutes on another.

SAMPLE TIMELINE USING THE RUBRIC

MUSICAL - 10 minutes (Criteria A - Musical Elements and Criteria B - Musical Terminology)
* Two sentence - medium, meter, harmony, tempo (Strategy 2 - see below)
* Note musical characteristics (melody, rhythm, harmony, texture, timbre, mood, dynamics, orchestration) and use musical terms to describe
(Keep the form in mind while notating this)

STRUCTURE - 15 minutes (Criteria C - Structure and TERMINOLOGY and Criteria B - Musical Terminology)
* Create vertical time, umbrella diagram, etc to list sections, locations and musical events while you rewind small portions. Do not go back to the beginning every time you write. (Note: Vertical time line and umbrella map examples are given throughout the sample questions. Good examples are shown in the world music sample questions.)
* JOT DOWN LARGE SECTIONS AND LEAVE ROOM TO FILL IN DETAILS.

CONTEXT - 5 minutes (Criteria D- Context)
Discussion of historical, cultural and stylistic. Reminder this is 25% of the assessment. Have a plan and don't forget.

TIP: To score in the upper bands, you must provide a great deal of detail. This can not be accomplished if you stop writing prior to the end of the exam. There is always more information that can be written about the extracts.

TIP: Writing context at the end allows you to have heard the extract several times to understand better the musical style.

TIP: You must have a plan going into the exam but it needs to be flexible. As you work on sample questions, you will learn how to adjust your times depending on the demands of the question. E.g. Often world music, takes more time to write about structure as it is often not as clearly delineated as Western art music. With the scores you will need to take more time to use your music theory background as you discuss cadences, chord progressions, intervals, etc.

STRATEGY 2: The two sentence MEDIUM/KEY/METER/TEMPO APPROACH

Specifically with written scores, do a precursory look over the entire score. Always begin your listening paper answer with one or two sentences that cover the concepts of MEDIUM, KEY, TEMPO AND METER SIGNATURE. Four key points you can write in a few sentences that will take minutes to observe. By starting in this manner, it will allow you to not forget the easy "stuff."

Example: "This piece is a Classical string quartet which uses two violins, viola and bass. It is in 4/4 meter or simple quadruple and in the key of D major. The tempo is allegro which means fast."

In this short example, you have identified the medium (string quartet and the instruments), the met
er, tempo and key signature.

TIP: BUT.....don't forget to look through the rest of the piece as the key and time signature may change. Take another look and in our imaginary example piece, we may find additional information:

"It modules in m. 15 to the key of C major where the tempo changes to ¾ time or simple triple meter and is moderato or medium fast."

Good luck with the exam!! Hopefully these tips and strategies will facilitate your studying!

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IB Music Exam: Tips and Strategies for Success - OSC IB Blogs

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As you prepare for the IB Music exam, remember to develop strategies and methods for answering the IB Music Listening Paper questions. Decide which strategies work best for you or come up with your own, or a combination of those listed below.

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Must read

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Syllabus content

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Circle the types of instruments you can hear strings percussion electronic instruments brass voices rock instruments world instruments Describe how THREE of the elements of music have been used in this piece Unidentified Piece (no score provided) Analyse, examine and discuss in detail what you hear in this extract.

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Perrrrfect analysis of Mozart 12 variations

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If you have been following along over the past few months, we have been gradually expanding from the smallest musical ideas into larger and larger pieces of music.

We started out by coming up with ideas, then learned how to expand those ideas into themes, and most recently discussed how to expand those themes into short ABA compositions.

In this next tutorial we'll go a step further and learn about Theme & Variations, a valuable form that has been around in some way or another for as long as there has been music.

Theme & Variations has many practical purposes even in contemporary composition. Film music, for example, often uses a limited number of themes to identify particular characters or ideas. Repeating those themes over and over in the exact same way can be boring, however, so learning about how to create variations can give the themes new life.

Practicing variations is also great for your composing chops. You learn how to make the most of limited material and develop technical fluency, becoming able to direct a given set of notes to express anything you want them to.

What Are Variations?

Variations can be thought of as repetitions of a theme with one or more musical aspects changed, either slightly or drastically.

For example, you might play the theme in the exact same way, but instead of quarter notes in the accompaniment, you expand it to sixteenth notes. Or instead of using simple diatonic chords, you re-harmonize the theme with complex chromatic harmony.

For each variation, usually the same changes are applied throughout the whole pass through the theme. Meaning if the melody has been changed from quarters to sixteenths, typically that will be the case for the entire length of the theme until the next variation begins.

What Can You Vary?

Any musical feature of a theme can be varied. There is a lot of room for creativity regarding what aspects of a theme you can modify and in what ways.

Just a few of the things you can vary in a theme include:

A typical "Theme & Variations" from the classical era almost always uses a small ternary form for the theme. This is the ABA form that we discussed last time.

Usually all of the repeats are included, meaning the form expands to AA-BA-BA. The extra repetitions of each section help us really get it into our ears so we can recognize it under the coming variations.

The theme is also usually presented in a very simple way, meaning simple melody, simple harmony, simple texture. Not only does that make it easier for us to hear the theme, it also gives us a very clean starting point from which to add complexity on top of with the variations.

For our examples here I've chosen Mozart's Variations on "Ah vous dirai-je, maman", or better known to us as Twinkle Twinkle Little Star. I chose this example because the variations are very clear but more importantly the tune is so familiar that it is easy to follow along.

In the case of Mozart, with just a few ornaments here and there the theme is played almost entirely in simple quarter notes with basic diatonic harmony. It's a 24 bar theme made up of an 8 bar A section, 8 bar contrasting B section, and a return to the 8 bar A.

(Thank you to Stefano Ligoratti for providing the recording under Creative Commons Attribution 3.0.)

Now let's look at some of the ways Mozart varies this basic theme.

A good place to start is to vary the melody, usually by embellishing it with ornaments, grace notes and faster motion, or by changing the rhythm. Underneath any surface level changes the main skeleton of the theme always remains.

In variation V the melody is changed by shifting the rhythm to a more lively offbeat pattern. In the B section of the theme there is also chromatic movement down as F-F in bar 10 is changed to F#-F, E-E in bar 11 is changed to E-Eb. There are also some 16th notes added in the B section and final A for an even more active melody.

Despite the variations you can still easily hear the underlying Twinkle Twinkle Little Star melody.

Variation I uses passing notes and neighbor notes to change the activity of the melody from quarter notes to sixteenth notes. Again all the important structural notes are there, even as they are surrounded by a complex flurry of activity.

I'll remind you again to notice how Mozart applies a single variation technique to the whole 24 bars, so it feels like a cohesive section.

There are a lot of ways to vary the harmony of a given theme.

You could reharmonize the melody with different chords, such as in variation VII where bar 6 is changed from C to E7. This is a change from the I chord to the secondary dominant of vi, V/vi. (Look and listen for the G# in the bass.)

Although the chord is different, the melody note it supports remains the same.

An even more drastic harmonic change is to shift modes. In variation VIII the theme is changed from C major to C minor. This is a great technique to remember because it demonstrates how one single theme can express a lot of very different moods.

Another harmonic variation is to make the harmony more complex, such as with a lot of chromatic movement. Variation VIII, which we just heard, includes a lot of chromaticism in the inner voice of the B section. Variation X has chromaticism in all parts.

Rhythm is a good aspect to vary that can express a very different character or feel.

In variation III the melody is expanded into triplets. This is similar to how variation II expanded the melody into 16th notes though it has a more flowing feel.

Variation XII takes an even more drastic approach to varying the rhythm by changing the meter from 2/4 to 3/4. This means every measure has an extra beat to contend with, which Mozart fills mostly via rests (bars 1 and 2) or repetitions (bar 3).

Tempo

Another great way to create something drastically different from the original is to vary the tempo. This can of course go in either direction as faster or slower, and in Mozart's case he decides to do one very slowly.

Variation 11 is marked adagio. The change to a slower tempo gives Mozart room to be more playful and ornamental. He introduces grace notes and trills and explores a variety of textures.

Rather than keeping it one texture throughout like most of the variations, this variation is more like an entire composition with contrasts in texture and motion in the accompaniment.

The main theme is about 45 seconds but this variation is three minutes long! They're both only 24 bars each.

This variation is my favorite of the set because you could play this for someone out of context and they probably wouldn't even that realize it's just Twinkle Twinkle Little Star! He has applied many small variations to change this piece into it's own music, but if you listen for it you can always hear that original theme underneath.

A common aspect to change is the texture. By texture we could mean the number of voices, wether it is contrapuntal or melody with chords, block chords in the right hand or a single line, etc.

Mozart makes changes to the texture in every one of his variations.

In variation V the texture changes from two notes in perfect sync with each other to a call and response pattern between the melody and bass. Although the theme has two notes playing at a time, the uniform rhythm gives them a cohesive sense of being one unit. Variation V separates them rhythmically so we hear a distinct two part texture.

Variation VI changes the texture to sixteenth notes in the bass and three part block chords in the right hand. Then in the B section it shifts to sixteenth notes in the melody and three part block chords in the left hand.

When Theme & Variations are presented as a set, like the one we are looking at, the composer will often cap the whole thing off with an extended coda at the end of the last variation. This gives the whole piece a strong feeling of closure and a very marked ending.

When the last variation ends we might be expecting yet another one to begin, but an emphatic coda is a way of indicating to us that it's really over.

Variation XII, being the final variation of the group, includes an extended coda at the end. The coda comes after the repeat of BA at bar 25 and is like a grand fanfare celebration to give the piece a sense of finality and closure.

Conclusion

Variation XI, the slow one, is a perfect example of the power of variations. Even if you were not writing a set of formal "Theme & Variations" like Mozart did, you can see that the technique means you can take a pretty boring everyday idea like Twinkle Twinkle Little Star and turn it into a beautiful piece of music.

I highly recommend you seek out more music in the Theme & Variations form to listen to and analyze. Particularly great ones include Beethoven's Diabelli Variations and Brahms' Variations on a Theme of Haydn.

There's even a piece by Elgar called " The Enigma Variations," the enigma being that no one knows what the original theme for the variations even is!

Once you begin to train your ears to hear variations you'll probably start hearing them more in other pieces as well, perhaps within a single composition or in different cues in a film score.

Share your discoveries in the comments and let us know some of your favorite techniques for modifying an original theme.

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If you have been following along over the past few months, we have been gradually expanding from the smallest musical ideas into larger and larger pieces of music. We started out by coming up with ideas, then learned how to expand those ideas into themes, and most recently discussed how to expand those themes into short ABA compositions.

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Animation

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http://www.themobilestudio.net In this video I explain Circle of Fifths and demonstrate some of its many uses in music composition. This video is part of a larger Podcast about Chords and Harmonies which is available to listen to or download from http://www.themobilestudio.net/striking-a-chord/.

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Musicmap | The Genealogy and History of Popular Music Genres

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Musicmap provides the ultimate genealogy of all popular music genres and combines any information regarding music genres, such as their relations, sociology, history and music examples, in one dynamic map, serving as both an educational tool and a framework for music databases.

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Noteflight is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser.

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Noteflight - Online Music Notation Software

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Noteflight is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser.

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Noteflight is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser.

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An Amazing source that helps to know what are the IB requirements for music theory behind music elements/concepts.

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Contour + Motivic Development Counter-Melody Melody Explained Note Quality Ornamentation Progression

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to study world music

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World Music Network - Guide To World Music

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Sudan is a place that becomes increasingly more difficult to define with the passing of time. Once the largest African nation, on the verge of union with Egypt, Sudan is now a fractious pair of North and South, where land, culture, ethnicity and religion vie for the dominant means of constituting Sudanese Identity.

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Contains resources that are categorised and a unit content.

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G11 Music (HL) Students will understand how musical elements function, both independently and together to communicate ideas and emotions in Baroque music. Students will also focus on practical skills such as reading and writing music as well as listenin

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website for teachers

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Downloadable Materials - The Learning Scientists

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Please use our materials and pass them along to others for educational purposes! We ask that you attribute us when you use the materials, and that you do not use portions of the materials or remove information from the materials. The materials may not be used commercially.

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Poetry, music and identity

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Jorge Drexler: Poetry, music and identity

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One night in 2002, a friend gave Jorge Drexler the chorus to a song and challenged him to write the rest of it using a complex, poetic form known as the "Décima." In this fascinating talk, Drexler examines the blended nature of identity, weaving together the history of the Décima with his own quest to write one.

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Composing song Life for an Orchestra in 10 minutes

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Ben Folds Composes a Song LIVE for Orchestra In Only 10 Minutes

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article

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The Harmonic Minor Scale Provides an Optimum Way of Reducing Average Melodic Interval Size, Consistent with Sad Affect Cues | Huron | Empirical Musicology Review

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The Harmonic Minor Scale Provides an Optimum Way of Reducing Average Melodic Interval Size, Consistent with Sad Affect Cues

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Tarogato - Romanian Hungarian wind instrument

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Tarogato - Romanian Hungarian wind instrument

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For prescribed works.

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Music of Finland

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BY Veijo Murtomäki

Sibelius's perception of Kalevala as 'pure music, theme and variations' led him into the discovery of a unique tone system totally different from that of Schoenberg's chromatic tonality.

It is a common truth - and an area of increasing interest for the musical studies too - that the 19th century was a century of national thinking. As a result of this folkstories/fairytales and folksongs were collected and published practically in all of the European countries. The movement touched greatly the composition history of the nineteenth century, and almost all art music composers got influences from their national heritage. It involved not only composers coming from so called 'national cultures' but also from the old Western European nations, like the Germans and the Austrians.

This was the case also with the Scandinavian and Russian composers, and among them, with Jean Sibelius, who during his early career felt a strong spiritual affinity with the Russian nationalistic composers, 'The Five', gathered around Balakirev, and based his creative work, much alike his Russian colleagues, to a great extent on the Finnish-Karelian folk music. This is obvious for every serious researcher of Sibelius's music, although later in his life Sibelius tried to conceal and minimise the deep influence he got from the folk music, as he tried to gain a profile as a universal composer.

Resurrection of folk poetry

In Finland, Elias Lönnrot (1802-84) collected and formulated the Finnish national epic Kalevala (the first version in 1835) as well as the collection of lyric poetry, the Kanteletar in 1840. Although Lönnrot added to the Kanteletar 23 song and 20 rune melodies, the honour of having been the first systematic collector of Finnish-Karelian folk melodies belongs to Axel August Borenius (1846-1931), whose catch was till 1895 almost 800 tunes.

When Sibelius grew up in the small town of Hämeenlinna he had, through a happy coincidence, as one of this teachers at the lyceum the composer Arvid Genetz (1852-1930), who had collected Finnish folksongs with above mentioned A. A. Borenius. Sibelius became during the school time acquainted with the style of the Finnish folkmusic and folksong via Genetz; he admitted later that he had received from Genetz 'some impulses'. In addition to this, the young Sibelius heard probably more than once 'a village fiddler playing polkas and dances', and as a practicing musician Sibelius played ad hoc variations on the piano upon the tune The Coppersmith's Chantey.

During his studies in Vienna in 1890-91, Sibelius suddenly started again reading the Kalevala and he was inspired by its language and epic character, telling about ancient heroes, who were also musicians with magical powers. He wrote to Aino Järnefelt, his fiancée, that 'the Kalevala strikes me as extraordinarily modern and to my ears is pure music, theme and variations'.

Like a folk-song

In Vienna he composed also his first piece hinting towards the awareness of the Finnish folk song style: the song Drömmen (The Dream) Op. 13 No. 5 was written in the night of 8th of January in 1891, on the basis of the letter Sibelius sent his wife Aino that day. In it he says:
'It is new [of its kind] and Finnish too. I really do believe in Finnish music, although 'the experts' sneer at it. Its melodicious, strangely melancholic monotony, which can be found in all Finnish melodies, is very typical, although it is actually a mistake.'

The last part of the sentence (italicised by this writer) is a direct echo of the idea that Borenius had about the Finnish folksong, as we can see later.

The song is, in despite of some modern compositional features, in its characteristics very Finnish. Firstly, the melody is using in the A-section (mm. 1-10) the minor pentachord, based on F, which is typical to ancient folk melodies. Only in the shortened repeat of the A section (mm. 25-28) the pentachord is expanded by the raised 6th and the natural 7th degrees with the final culmination and the dramatic question: 'Var är kyssen?' (Where is the kiss?). The middle B section (mm. 11-24) is based on raised tonic, on F sharp, and the F sharp pentachord is exceeded only once, at the moment when the voice reaches its top note, F sharp 2, with the word 'glädje' (joy). (Ex. 1)

Paraske and Kullervo

After having come back home from Vienna in June of 1891, Sibelius possibly met already during the summer but at latest in December the famous runic singer Larin Paraske (1833-1904). According to Yrjö Hirn, his fellow traveller, Sibelius 'was anxious to hear what the Karelian runic melodies were like when they were sung in an authentic way. Exactly how much this meant for Sibelius's works inspired by the Kalevala I would not like to say, I do remember this much however: that he listened to her with great attention and made notes on her inflections and rhythm.'

We do know what it meant for Sibelius. He sent Aino a postcard (December 21, 1891), where he had written the first version of the main theme of the second movement of his Kullervo Symphony, to be finished some four months later. The theme is in B Dorian mode, ending on the fifth degree above the B finalis. (Ex. 2)

Shemeikka, manly and noble

In summer of the year 1892 Jean and Aino went to Eastern Finland, not only to have their honeymoon there, but also because Sibelius had got the idea of collecting himself folksongs - partially in order to finance the trip. When he met in Korpiselkä Petri Shemeikka (1825-1915), the legendary runic singer, Sibelius, according to his later statement, 'found in Shemeikka an ancient spirit so manly and noble that my visit and stay at him was more valuable than any of my best study trips.' This is indeed a striking confession and, at the same time, a testimony of the deep and decisive impression the encounter with the genuine folk music had on his musical language. In his written report to the University of Helsinki (November 11, 1892), Sibelius gives only four melodies, the last of which he considered as the eldest of them and the basis for all the runic melodies he had heard, together 20 kantele tunes, 50 laments ( itkuvirsi) and 50 melody variants for the story of Marjatta. (Ex. 3)

In the spirit of Kalevala

This experience burst out in Sibelius's compositions created in the spirit of the Kalevala and using the folk music intonations as the basis for his own melodic writing. The fruits of it we can find in several subsequent pieces: in Venematka (The Boat Journey, 1893), Heitä, koski, kuohuminen (Leave of Foaming, Cataract, 1893) and Rakastava (The Lover, 1894) for male choir, to the poems of Kalevala and Kanteletar. Further in the Karelia Music, the second theme of the Ouverture imitates the runic melodies, whereas the Tableau I, Karelian home, includes even a literal citation of the most basic version of the runic song (Ex. 4). Notice that the melody heard sung by Petri Shemeikka has been harmonised in a major or Ionian mode, and by major chords! In addition to these, his first opera for piano, the Six Impromptus Op. 5 (1893) and the Sonata in F major Op. 12 (1893), rest strongly on the runic songs.

Sibelius was also influenced by Karelian kantele music. Already during his student time in Helsinki Sibelius was at a big masquerade 'disguised as a Finnish kantele player and had therefore learned some folksongs on the kantele' (letter February 3, 1889 to oncle Pehr Sibelius), the Finnish national instrument he was capable of handling and for which he wrote also a couple of pieces. After having taken a look at some kantele pieces by Karelian players, like those of Fedja Happo and Teppana Jänis, and having heard authentic kantele playing - for instance Maanitus, recorded in 1949 by Vanja Tallas (1876-1952), the last representative of the ancient tradition - it is easy to notice that Sibelius has in his early piano music a lot of kantele associations: especially in the Impromptus Nos. 2-4, and also in all movements of the Piano Sonata. (Ex 5)

Music editor

Sibelius encountered still later the runic singing. In 1895, a new edition of Kalevala was planned to be published with a commentary and a separate appendix containing some representative runic melodies, Sibelius was chosen the expert to furnish the volume with musical examples. Originally only two or three melodies were thought to be enough to give an ordinary reader an idea about the runic singing. But when Sibelius met Borenius in order to consult him, he quickly realised that just a few melodies were not enough for the purpose. So he proposed to the editor that 40 melodies had to be included in the new edition; however, only 17 were accepted to accompany the new edition.

These melodies, chosen to the new Kalevala edition appendice, use most of the time only the range of a pentachord; eight of them touch also the 6th degree, whereas only one has the range of a tetrachord. It is interesting to notice that in 11 melodies the mode is major, and only in 6 cases the mode is minor. Thus the Finnish proverb that 'playing is made of sorrows, fashioned of griefs' is not true at all. As Borenius said, 'in our epic poetry one seeks in vain after the traces of melancholy'! Most of the melodies chosen by Sibelius follow the standard binary structure, while some of them consist of more than two phrases: one of melodies has seven phrases, and three melodies include four phrases. These more extensive structures come close to Sibelius's statement about Kalevala as 'theme and variations'.

Lullaby for Lemminkäinen

Sibelius's most important encounter with the folk music occurred when he applied for the position of the musical director at the Helsinki University in 1896. He could base his academic trial lecture in his experience of listening to genuine runic singers as well as on the co-operation with Borenius and studying the latter's archives of melodies. In his lecture 'Some reflections on Folk music and its influence on the development of Art music' he for the first and only time formulated his ideas about the modes contained in the folksongs and the possibilities of harmonising the modal melodies.

Finnish mode - Dorian mode

Sibelius says in his paper that 'the ancient Finnish folk melodies do not have any dominant or tonic, thus nor the finalis, but simply five tones - d, e, f, g, a - and the two tones, b and c naturals, are joined to these only, when the melody is culminating.' (See Ex. 1) This results in the Dorian mode, whereas the 'Nordic mode reminds the Aeolian one, having thus the tones d, e, f, g, a, b flat and c, although the upper degrees are usually sung higher' [=as b natural and c sharp], thus resulting in the Aeolian-Ionian or the minor-major scale.

According to Sibelius, the melancholy and monotony of the Finnish folksong is not 'caused by the folktune itself, but by its one-sided harmonisation'. Sibelius's own solution to this problem was the idea that the D-oriented minor pentachord was 'resting on the lower pentachord that has as its basis the tone G. Thus it is the ninth chord that we have as the basic structure for the melodies discussed.' He admits later that 'the great significance of the folktune is based on its instructive features. A composer who has a thorough knowledge of the folkmusic of his home country has thus a different idea about the issue than the others.' The tone system, as 'our modern tonality is in the state of instability, must be found', in Sibelius's opinion, 'alive in the folktune.' Sibelius finishes his lecture by the credo: 'all the so-called interesting turns, modulations and so forth, have only passing value, unless their seed is embedded in the folkmusic.'

Transformations

In Sibelius's music the consequences of his thinking and ideas are clearly to be seen. His melodic writing follows these principles: the Aeolian mode is often transformed into the Dorian or Aeolian-Ionian, when the minor pentachord is exceeded and the melody reaches its culmination. In his harmonisation Sibelius uses parallel chords that move both upwards and downwards along the minor-major scale (sometimes also along the major-minor-scale), and the basic sonority, that of the ninth chord, can be found everywhere in his music, still in the seventh symphony. Very often he just puts a pedal-note a fifth below the finalis, creating a 'subdominant ninth chord' effect.

In the song Drömmen we find the Aeolian-Ionian harmonisation right at the beginning. Sibelius's way of moving the chords is functionally neutral; although the chords resemble dominant and subdominant chords (mm. 1-6), they shall not be interpreted to fulfil these functions. The F sharp minor section uses also the raised Aeolian-Ionian 6th and 7th degrees. The climax occurs at the dominant ninth chord, to resolve temporarily into E minor. At the end of the piece the D natural gives its place to the D flat, thus transforming the mode into F Aeolian. (Ex. 6)

The same techniques of using the Aeolian-Ionian mode as the source of the harmonisation can be found almost anywhere in his (early) output: in the Karelia Ouverture, jn the Ballad Skogsrået (The Wood-Nymph, 1894/5), and especially in the six Finnish Folksongs Arranged for Piano (1902-03).

The otherness and the archaic song

What is crucial in the case of Sibelius is that he found in the 'otherness' of the archaic song a new world of possibilities for the modern composer. He could create on the basis of the ancient modality, still left in the runic singing, an alternative tone system totally different from that of Schoenberg's chromatic tonality and write also an entire symphony, the sixth symphony, based on modal hierarchies. Thus Sibelius the composer was a modern rune singer a bridge-builder between the ancient and modern musical worlds.
This article is based on a lecture given by Murtomäki at the Fourth International Jean Sibelius Conference in Texas (at the North Texas University) in January 2005, and was first published in FMQ 3/2005.
See also " Finnish through and through - Kullervo by Jean Sibelius " (from FMQ 2/1992).

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Sibelius and Finnish-Karelian folk music - FMQ

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BY Veijo Murtomäki Sibelius's perception of Kalevala as 'pure music, theme and variations' led him into the discovery of a unique tone system totally different from that of Schoenberg's chromatic tonality. It is a common truth - and an area of increasing interest for the musical studies too - that the 19th century was a century of national thinking.

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Uploaded by Music Analysis Songs on 2014-05-07.

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The transformative power of classical music

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The transformative power of classical music

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Benjamin Zander, Interesting and with a great sense of humour

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The transformative power of classical music | Benjamin Zander | TED

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Score Reading - instrumentation (orchestra instruments) in the symphony 

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Score Reading - instrumentation (orchestra instruments) in the symphony 

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Mozart Symphony No 40 in G minor. Explained with visual examples. Provide information about the transposed instruments!

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Online score-reading lesson with examples from Mozart's Symphony No. 40 in G minor. To read and listen to the entire symphony, check the links below. My preferred YouTube clips featuring each of the four movements with the most characteristic tempo and expression: http://www.youtube.com/watch?v=aZD9nt_wsY0 http://www.youtube.com/watch?v=lptS29doMNE http://www.youtube.com/watch?v=VVZc8IOo4QI http://www.youtube.com/watch?v=9G0Hi4JU8H4 The last clip is of a recording which uses Mozart's original arrangement without clarinets.

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The 7 Habits of Highly Effective Artists

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The 7 Habits of Highly Effective Artists

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Creative  ideas about organising your time that you can apply into your work on compositions and performance.

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JohnMello is a writer, composer, musician and the author of books for children and adults.

The Minuet and Trio is a common form used in classical music composition. It turns up often as the third movement of symphonies and string quartets, and has also been used extensively in the piano works of Mozart and Beethoven, among others.

Why would any composer write a minuet and trio? It gives them a framework within which to work. Like sonata form, there are certain rules that need to be adhered to. And when writing a piece with four different sections - such as a piano sonata or symphony - it's important to make sure there's variety. The nature and placement of the minuet and trio means that it's easily recognizable, too, which helps listeners make sense of the music more readily.

So here's a simple guide that will help you understand and identify a minuet and trio the next time you hear it.

Structure of a Typical Minuet & Trio

The minuet came first, and the trio was added later. Minuets were initially written to be danced to. When the dance craze died out, composers continued to write pieces using the minuet style, expanding and modifying it to keep up with changing times.

A minuet has three beats in a bar and generally moves along at a leisurely pace. Composers as far back as Jean-Baptiste Lully (1632-1687) wrote them for the courts of kings and queens, where wealthy and upper-class people would gather to indulge in fine food and drink, strive to make a good impression on the ruling monarch, or simply make sure they were seen in the right places.

By the time of J.S. Bach the minuet became a musical form in its own right. The trio element evolved as a technique to make the minuet last longer and is simply another minuet stuck in the middle. Composers helped audiences identify the trio by scoring it for three instruments only - and that's where the name "trio" comes from.

Here's a picture of the basic broad structure of the minuet and trio form:

A Trio of Possibilities

The minuet at the beginning and the minuet at the end are the same. It might seem boring to us these days to repeat the whole first part of the piece again, but you have to remember that people usually heard music one time only. They weren't able to flick on the radio, pop a CD in their stereo or download it through iTunes. Their only encounter with the music would be when they heard it performed live, at a dance or a concert. The only way they could get to hear it over and over again would be if they had the sheet music and the ability to play it. Otherwise the tunes and harmonies would go in one ear and out the other. So composers used repetition to make it easier on them.

You'll notice that the minuet and trio is a three-part structure. That's important, because each one of the three parts also contains three parts. So part A, the original minuet, follows the ABA format, as does the trio and the concluding minuet. Here's what the structure looks like when it's broken down into its constituent parts:

Repetition, Repetition, Repetition

You'll notice that section B - the trio - uses different letters to identify each of its three parts. That's because the music for the trio is unique. It might be based on what came before it, i.e. the minuet, but it will be varied in some way, usually by a key change and often with a different melody. So because the music is different, we use different letters to indicate that.

Minuet and trio form uses repetition extensively, as mentioned above. This is partly due to the fact that the composers want to familiarize their listeners with the music as quickly as possible, and partly due to the conventions of the genre. It's possible for modern performers to play the pieces without repeating sections - it all depends on how strictly they want to adhere to the composer's wishes.

Here's the way a typical minuet and trio would be played with the repeats:

Typical Examples of this Classic Form

Whether you realize it or not, you've probably heard a minuet and trio at one point in your life. Examples of the form are everywhere in the music of Haydn, Mozart and Beethoven. You've probably come across this famous piece by Beethoven, particularly if you've ever had piano lessons. It's part of the repertoire that most pianists will learn during the first few years of their study:

Another equally famous example occurs in Haydn's 'Surprise' Symphony. Check out the third movement and see if you can identify the minuet and trio structure.

Adding Variety to Keep Things Interesting

With so much repetition you may be wondering how composers keep listeners from being bored. One way they can achieve this is by changing the endings of sections, for example by using first and second time bars. These subtle changes are enough to add variety to the music, throwing in a small twist that takes listeners by surprise and makes them take notice.

Another trick they employ is changing the music within a section. So, for example, in the opening minuet which has an A B A structure, a composer might choose to alter the final A-section and give it a completely unique ending, helping to make it stand out. Or they might indicate that the section be played medium loud the first time, and then very soft the second time. Pieces for orchestra can achieve differentiation by varying the instrumentation. Small changes like this can have a tremendous impact, especially in the hands of a master craftsman like Beethoven or Haydn.

Key changes can also provide relief. Typically the trio is in a different key, for example the relative minor or the dominant. This has two benefits for the listener:

1. It provides a new tonal center, something fresh for the ear

2. When the original tune returns it brings a sense of familiarity and recognition

The Three-Part Form at a Glance

The most important thing to remember about the Minuet and Trio is that everything is in three's. Here's a quick summary to help bring it all together.

Each of the sections of the piece - minuet, trio, minuet - has three beats in a bar

There are three sections in total, making an A B A form, also called ternary (three parts) form

Each section is subdivided into three distinct parts

A minuet and trio is usually the third movement of a sonata, concerto, symphony or string quartet

And that's all there is to it. Test your knowledge by completing the short quiz below, and remember to listen carefully next time there's classical music playing to see if you can spot those minuets and trios!

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JohnMello is a writer, composer, musician and the author of books for children and adults. The Minuet and Trio is a common form used in classical music composition. It turns up often as the third movement of symphonies and string quartets, and has also been used extensively in the piano works of Mozart and Beethoven, among others.

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https://docs.google.com/a/ispp.edu.kh/document/d/1kCY1V1x1ndirIpkV_DwSVuEc-7e8somThxhJY897avI/edit?usp=sharing

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video and

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Introduction

Think of your favorite song. Most likely you're thinking of the singer and the lyrics of the song or possibly the catchy drum beat. But what other instruments are involved that make the song sound the way it does? Why are background instruments important? The answer to these questions is texture.

Texture Definition

Believe it or not, you hear texture in music all the time. Generally, we think of texture as being a word reserved for describing tactile applications, like the shagginess of carpet or the fabric of your favorite shirt, or for visual applications, like the thickness of paint on a canvas. However, we can apply texture in an aural way as well. In music, texture refers to the interaction of melodies and harmonies within a song. These parts can be instruments, singers, or a combination of both.

In general, the texture of music can be thin or thick, thin texture being music with few differing musical parts and thick texture being music with many differing musical parts. We can think of texture like a sandwich. The more ingredients you put on your sandwich, the more flavors you will taste in one bite. A grilled cheese sandwich might represent a thin texture, while a sub sandwich with ham, turkey, roast beef, cheese, lettuce, tomato, onion, mayo, and spices could represent a thick texture. Thin and thick textures are often woven throughout a song, and it is this weaving that helps create intensity and drive or calm and relaxation within a piece of music.

Three Specific Types of Texture

When we want to describe music more precisely, we can refer to three specific textures: monophony, polyphony, and homophony. The names of the textures were derived from Latin, with the giving structural implications and the suffix '-phony', meaning 'to sound.' This is not to be confused with the word 'phony,' meaning 'fake' or 'fraudulent.' Let's examine each to find their similarities and differences.

Monophony

Monophony is the thinnest of the three textures, with only one musical part in a song. The prefix 'mono' means 'one,' like a monocle or monorail, so it's easy to remember. In monophony, there are no background singers or instruments. Historically, monophony was the first texture. During the Medieval period, this was the only texture of music accepted by the church, as harmony was considered the work of the devil.

The most well-known type of Medieval monophony is Gregorian chant. If you listen carefully, you can hear that, although there are multiple singers, they are all singing the same pitches in rhythm together. This is monophony because there is only a single line of music with no accompaniment. Another example is at the beginning of Beethoven's 'Fifth Symphony.' All violins, violas, cellos, and basses are playing the same tones and the same rhythms. You might have noticed that the violins are playing at a higher frequency than the cellos or basses, but because they are playing the same pitch, it is still considered monophony. Finally, you can often hear monophony at the beginning of sporting events, where soloists will sing the national anthem without background instruments.

Polyphony

Eventually, singing the same thing as everyone else all the time became boring. Thus, polyphony was born. You probably know that 'poly' means 'many,' like a polygon has many sides, and since we know 'phony' means 'to sound,' we can immediately deduce a basic meaning of 'many sounds at the same time.' More specifically, polyphony is heard when two or more independent melodies are sung or played simultaneously. In polyphony, the pitches and rhythms of each musical part are different from one another. Because of this, we can say that polyphony is a much thicker texture than monophony.

Think of a round, like 'Row, Row, Row Your Boat.' If you and your friend are singing the song as a round, you are singing two different parts at the same time. Many times, an instance of polyphony is achieved through singing, though it can occur between two or more instruments as well. This happens most often in orchestral or band music. A very common example often heard at wedding ceremonies is Pachelbel's 'Canon.' Part of the beauty of the song is the interplay between the four simultaneous melodies.

Many classical trios and quartets also play with a polyphonic texture, at least some of the time. In Beethoven's 'String Quartet,' we hear the violin, viola, and cello playing individual yet complementary parts. More current examples include The Beach Boys, who often combine multiple melodies in the vocal parts of their songs, and in pop song divas who feel the need to improvise over the chorus of the song while the main melody continues along with her.

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texture and voices in music: definition & overview - video & lesson transcript | study.com

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Texture and Voices in Music: Definition & Overview - Video & Lesson Transcript | Study.com

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Think of your favorite song. Most likely you're thinking of the singer and the lyrics of the song or possibly the catchy drum beat. But what other instruments are involved that make the song sound the way it does? Why are background instruments important? The answer to these questions is texture.

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Mozart - life, music pieces - scores and audios. 

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Mozart - life, music pieces - scores and audios. 

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Very useful website, informative and handy to use

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Mozart - Quartet No. 2 in D Major, K. 155 sheet music for String Quartet - 8notes.com

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Mozart, Wolfgang Amadeus Quartet No. 2 in D Major, K. 155 sheet music for String Quartet - 8notes.com

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"How do you get to Carnegie Hall?" "Practice, practice, practice!" You've heard that one, right? Well, it's a truism that we shouldn't forget as musicians. If you want to improve on your instrument, practicing is 90% of the process. (We'll get into the other 10% later) So here are 10 music practice tips to make the most out of your practice time.

1. Set goals for your practice time

One of the least effective things you can do is go into your practice room and just sit down and start playing. In order to make the most of your time, you need to make a plan as to what it is that you need to and want to accomplish in that time. Do you want to memorize a piece? Do you need to figure out the fingerings of that melismatic passage in one of your pieces? Do you need to work on the breath stamina of a particularly difficult phrase? If you go into the practice room with a goal in mind, you will be focused and motivated to attain that goal.

2. Keep a practice log

Going along with the previous tip, when you set your goals, write them down and then when you are finished practicing, write down whether you accomplished your goal or not. If you didn't, reflect on why. For more detailed instruction on the benefits of keeping a practice log, check out our recent article on the subject.

3. Break up your practice time into smaller increments

Your teacher may say that you must practice three hours a day. But that doesn't mean that you have to lock yourself in a practice room for three hours straight! Practicing effectively requires concentration and focus and that can be very fatiguing. If you break that three hours into three 1-hour sessions, you will be more focused in each session and use your time more effectively. This is also instrument specific because whereas a pianist might have the physical stamina to play for two hours straight, that is not recommended for a singer.

4. Remember that practicing is NOT just about playing through your music

Yes, certainly there will be times when you are preparing for a performance and you need to play through your entire piece to check memorization and gain stamina. But in the process of learning and perfecting a piece, playing through your piece from beginning to end can actually hinder your progress. If you still have technical difficulties or memorization mistakes, by playing through your pieces you are simply ingraining those mistakes into your muscle memory. It will be twice as hard to get rid of those mistakes in the long run. Perfect small sections of your piece and then string a few small sections together to make a longer section.

5. Repetition is key

In order to break a habit, you need to do something the correct way 100 times. So every time you miss a note in that melismatic passage, you are going to have to repeat that passage the correct way 100 times! Break large passages up into smaller passages and repeat them correctly until they become part of your muscle memory.

6. Make sure your practice room is set up for effective practicing

You want your practice room to be free of distractions and set up with the tools you need to practice efficiently. Make sure it is quiet (without tv, computers, ipods) and at a comfortable temperature. Make sure the room has enough light. Turn off your phone so you are not tempted to check your messages and get calls. Make sure you have a metronome, pencils, a tuner (if you need one), a mirror, your music and technique books, your practice log, some water and any instrument specific accessories.

7. Warm up mindfully

Make sure that you always start your practice with warmups. But don't just run through your exercises for the prerequisite amount of time while thinking about what you are going to have for dinner that day (or enter any random thought here). The purpose of warming up is not simply to get your muscles moving. It is in the warm up that your are solidifying your technique. You are preparing your body and your mind for the work and you must be "present." Before you start an exercise remind yourself of why you are doing that particular exercise. As you go through the exercise, be aware of how you are feeling, how you are breathing, if your body is alerting you to tension, etc. Keep your mind in the game at all times - even through the tedious stuff.

8. Record yourself

By recording your practice sessions - audio and/or video - you can listen back and catch some things you may miss in the moment. Listening to yourself can help you find tone issues, watching yourself can alert you to tension issues that you didn't know you had and much more. OK, I'll let you break a part of tip 6....you can turn your phone on to record yourself. But don't check your messages!

9. Remember that practicing isn't just about playing your instrument

You need to practice your instrument but you must also practice your artistry and you must engage your intellect. That means that practice also involves listening to great artists perform your repertoire and analyzing what makes them so great. Practice involves studying the history and performance practice of a particular piece. Practice involves translating the text of a song and speaking that text with meaning in it's original language. Being a musician is about much more than just learning how to play the notes. You need to add time every day on top of the time in the practice room to expand your knowledge of your music, your instrument and your artistry.

10. Practice something EVERY DAY

It is better to practice 20 minutes every day that 2 hours on only one day of the week. If you can't put in three hours every day, that is fine. But commit to working on your instrument, even if one day you only warmup and don't touch your repertoire, every single day. That consistency will pay off!

If you really want to take your practicing to the next level, you need to read an excellent book by Gerald Klickstein called, The Musician's Way: A Guide to Practice, Performance and Wellness. Check out our expert review and then buy the book!

So what other practice tips do you have? Let us know in the comments below.

And if you like this article, SHARE it!

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"How do you get to Carnegie Hall?" "Practice, practice, practice!" You've heard that one, right? Well, it's a truism that we shouldn't forget as musicians. If you want to improve on your instrument, practicing is 90% of the process.

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These books cover the material for harmony exams such as those set by the RCM in Toronto. Vol. One covers the material for Introductory and Basic exams. Volume Two covers Intermediate and Advanced. They could also serve as a 'plain-English' supplement to first-year college textbooks.

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Different Essay types samples

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Check out these awesome writing templates from @writewellapp. I just used one! #writing #amwriting

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Have writer's block? Staring at the blank page? Jumpstart your writing with the world's best writing templates and writing guides made with love by caring teachers‍ and writing experts. Featured on Product Hunt, Lifehacker and Forbes, WriteWell offers convenient templates such as Argumentative Essay, Expository Essay, Narrative Essay, Short Story and many more.

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Dear readers, I noticed an upswing in the amount of readers over the last months. I can only assume this has to do with the upcoming exam, and I would guess not very many found proper help here (especially given that I've only uploaded a musical investigation here).

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Bernstein Greatest 5 min in music education

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Bernstein Greatest 5 min in music education

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Bernstein, The greatest 5 min. in music education

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Resources

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This website is a resource for students of MUSU 222: Musical Cultures of the World at Brandman University. Click on the week's topic for resources, videos, sound clips, and presentations.

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Definition of Harmony in Music

Harmony is when you have multiple pitches being played at the same time. If you think about a rock band, the guitar is typically providing the harmony. When we talk about harmony, we're generally talking about chords, which occur any time you have three or more notes played at the same time. Yes, that means your forearm striking the piano is a chord, and it is an example of harmony. But we're going to study how to make aesthetically pleasing harmonies.

Chord Theory and Qualities

We need to look at individual chords and harmony as a whole. First, let's look at some basic theory about chords. Commonly, chords are made up of stacked intervals called thirds. This stacking of thirds is called triadic, or a tertian harmony.

Each note in a chord has a name. The bottom note is the root, the next note is called the third, and the next note up is the fifth. These numbers come from the interval between the root and the corresponding note. For example, a C major chord has a C as a root, an E as a third, and a G as a fifth.

Chords can be one of four qualities: major, minor, diminished, or augmented. The first two qualities (major and minor) are the most common and are concerned with the third of the chord. In a major chord, the third is a major third apart, while the minor chord has the third as a minor third apart. To tell the difference, you need to count half steps, which are the smallest distances between two notes (for example C to Db or A to Bb - the small b is notation for flat). A diminished chord has a minor third and a diminished fifth (the fifth is lowered a half step); the augmented chord has a major third and an augmented (raised) fifth.

When working with more advanced chords, such as 7th chords, you are simply stacking thirds up onto the existing chord. For example, a C7 means to have a major chord built on C and then a minor 7th above the root - in this case Bb. The minor 7th is implied, so you need to remember that if you see 7 next to a chord, it's a minor 7 unless notated otherwise.

Harmonic Theory

There was a time when harmony was thought to be created through the interaction between multiple melodic lines. This type of harmony, called counterpoint, largely went out of style in the early 1700s, to be replaced by what we traditionally think of as harmony today - chords providing accompaniment for a melody. Eventually, harmony evolved again to include further and further developments away from tonality, or a fixed pitch center, to freely associated harmony, atonality.

We're going to concern ourselves with tonal harmony. It's what we hear in most classical music from the 1700s on and in nearly all popular music we hear today. Tonal harmony emphasizes the relationship between chords, specifically the relationship between tonic, the home tone of the key, and dominant, the fifth note in the key.

The other relationship in tonal harmony is between consonance (musical rest) and dissonance (musical movement or tension). Chords can be classified as consonant or dissonant relative to the key they are in. The breakdown works like this (where each number represents a chord built on the corresponding note in the key):

Consonant chords: 1, 4, 6

Dissonant chords: 2, 5, 7

The confused chord: 3

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what is harmony in music? - definition & theory - video & lesson transcript | study.com

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What Is Harmony in Music? - Definition & Theory - Video & Lesson Transcript | Study.com

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Harmony is when you have multiple pitches being played at the same time. If you think about a rock band, the guitar is typically providing the harmony. When we talk about harmony, we're generally talking about chords, which occur any time you have three or more notes played at the same time.

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Music Basics: Notes and Rhythm. Lesson 3: Meters in Double and Triple Time, Upbeats

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Uploaded by All-Star Orchestra on 2014-06-11.

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building score reading skills

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Discover new sides of music that you'll love! Find and compare great performances, improve your score reading, and simply enjoy the music more!

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how to better understand counterpoint music

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http://openmusictheory.com/firstSpecies.html

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class activity

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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music training

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Theta Music Trainer: Ear Training and Music Theory

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Ear Training and Music Theory for all musicians. Sharpen your musicianship and aural skills through an exploration of sound, pitch, scales, intervals, melody, chords, progressions and rhythm.

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Contains structured lessons on intervals, chords and

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eVirtuoso Key Signatures Lesson 2 - Circle of Fifths and Fourths

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eVirtuoso Key Signatures Lesson 2 teaches the Circle of Fifths and Fourths.

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Lecture Mozart&Beethoven

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Lecture 9. Sonata-Allegro Form: Mozart and Beethoven

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Listening to Music (MUSI 112) A brief foray into the formal characteristics of contemporary popular music is used to launch this lecture on musical form. After a discussion of the "verse-chorus" form often used in popular music, Professor Wright proceeds to take students into the realm of classical music, focusing particularly on ternary form and sonata-allegro form.

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A interactive classroom listening activity which is an analysis of Mozart's Symphony no. 40 in g minor in sonata form. This activity is paired up with another video which is a fill in the blank counterpart to this. This is an update to a previous video, I worked out the bugs.

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From the Well-Tempered Clavier Book 1

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Fugue in C minor from the Well-Tempered Clavier Book 1 by JS Bach

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Interactive (Flash) study of the second fugue in Bach's Well-Tempered Clavier Book 1. David Korevaar on the piano.

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Very interesting! Helps a lot to recognise intervals by ear

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How To Develop The World's Greatest Ear Part 1

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Ludwig van Beethoven: Symphony No. 5, analysis by Gerard Schwarz (part 1)

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Learn for free about math, art, computer programming, economics, physics, chemistry, biology, medicine, finance, history, and more. Khan Academy is a nonprofit with the mission of providing a free, world-class education for anyone, anywhere.

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Melody

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Counter based melody

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Ground Bass - Jinhoon

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For Written essay

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Sample of music analysis at the DP High level.

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Sample of music analysis at the DP High level.

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Rossini and Gershwin analysis

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Sample

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brief idea

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Melody | History, Description, Characteristics, & Facts

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Melody, in music, the aesthetic product of a given succession of pitches in musical time, implying rhythmically ordered movement from pitch to pitch. A melodic line has several key characteristics, including contour, range, and scale. Read more about the characteristics, description, and history of melody.

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Types and structures

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A popular music genre during Baroque period. It is a large-scale music composition for soloists, chorus and orchestra on sacred subject, texts from the Bible, Psalms.

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Oratorio

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A musical rite of the holiday season, the Baroque-era oratorio still awes listeners 250 years after the composer's death

Smithsonian Magazine |

George Frideric Handel's Messiah was originally an Easter offering. It burst onto the stage of Musick Hall in Dublin on April 13, 1742. The audience swelled to a record 700, as ladies had heeded pleas by management to wear dresses "without Hoops" in order to make "Room for more company." Handel's superstar status was not the only draw; many also came to glimpse the contralto, Susannah Cibber, then embroiled in a scandalous divorce.

The men and women in attendance sat mesmerized from the moment the tenor followed the mournful string overture with his piercing opening line: "Comfort ye, comfort ye my people, saith your God." Soloists alternated with wave upon wave of chorus, until, near the midway point, Cibber intoned: "He was despised and rejected of men, a man of sorrows and acquainted with grief." So moved was the Rev. Patrick Delany that he leapt to his feet and cried out: "Woman, for this be all thy sins forgiven thee!"

Now, of course, Messiah is a fixture of the Christmas season. Woe to the concert hall in the United States or Britain that fails to schedule the piece around the holiday, when, as well, CD sales and Web downloads of the oratorio soar. For many amateur choirs, the work is the heart of their repertoire and the high point of the year. In most of Handel's oratorios, the soloists dominate and the choir sings only brief choruses. But in Messiah, says Laurence Cummings, director of the London Handel Orchestra, "the chorus propels the work forward with great emotional impact and uplifting messages."

This year, the 250th anniversary of Handel's death, has been a boon to the Baroque composer and his best-known work. The commemoration has centered in London, where Handel lived for 49 years, until his death in 1759 at age 74. The BBC has broadcast all of his operas, more than 40 in total,  and every one of the composer's keyboard suites and cantatas was performed during the annual London Handel Festival, which included concerts at St. George's Hanover Square church, where Handel worshiped, and at the Handel House Museum ("See Handel Slept Here,"), longtime residence of the man that Ludwig van Beethoven himself, citing Messiah, said was the "greatest composer that ever lived."

He was born in Halle, Germany, into a religious, affluent household. His father, Georg Händel, a celebrated surgeon in northern Germany, wanted his son to study the law. But an acquaintance, the Duke of Weissenfels, heard the prodigy, then barely 11, playing the organ. The nobleman's recognition of the boy's genius likely influenced the doctor's decision to allow his son to become a musician. By 18, Handel had composed his first opera, Almira, initially performed in Hamburg in 1705. During the next five years, he was employed as a musician, composer and conductor at courts and churches in Rome, Florence, Naples and Venice, as well as in Germany, where the Elector of Hanover, the future King George I of England, was briefly his patron.
Some say compared to Bononcini,
That Mynheer Handel's but a Ninny;
Others aver, that he to Handel
Is scarcely fit to hold a Candle
Handel's restless independence contrasted him with the other great composer of the age, Johann Sebastian Bach (1685-1750), whom he did not meet. "Bach never moved out of the cocoon of court patronage or church employment," says Harry Bicket, a conductor, harpsichordist and London-based director of The English Concert chamber orchestra. Handel, on the other hand, rarely attached himself to any benefactor for long, although he would compose court music when asked. He wrote The Water Music (1717), one of the few of his pieces other than Messiah recognizable to the average concertgoer, for George I, to be performed for the monarch as His Majesty's barge navigated through a London canal on a summer evening. "But [Handel] didn't hang around palace antechambers waiting for his lordship or royal highness," says Jonathan Keates, author of Handel: The Man and his Music.

Such free-spirited musical entrepreneurship was more than possible in London, to which Handel moved permanently in 1710. A commercial boom underpinned by overseas trade had created a thriving new merchant and professional class that broke the monopoly on cultural patronage by the nobility. Adding zest to the London music scene were rivalries that split the audience into two broad musical camps. On one side were defenders of the more conventional Italian opera style, who idolized the composer Giovanni Bononcini (1670-1747) and brought him to London. Enthusiasts of Handel's new Italian operas cast their lot with the German-born composer. The partisanship was captured in a 1725 verse by poet John Byrom:

Increasingly elaborate opera productions led to rising costs due, in part, to hiring musicians and singers from Italy. "It was generally agreed Italian singers were better trained and more talented than local products," notes Christopher Hogwood, a Handel biographer and founder of the Academy of Ancient Music, the London period-instrument orchestra he directs. But beautiful voices were often accompanied by mercurial temperaments. At a 1727 opera performance, Handel's leading sopranos, Francesca Cuzzoni and Faustina Bordoni, actually came to blows onstage, with their partisans cheering them on. "Shame that two such well-bred ladies should call [each other] Bitch and Whore, should scold and fight," John Arbuthnot (1667-1735), the mathematician and satirist, wrote in a pamphlet describing the increasing hysteria of London's opera world.

In the 1730s, the emotional and financial toll of producing operas, as well as changing audience tastes, contributed to Handel's growing interest in sacred oratorios-which required neither elaborate scenery nor foreign stars-including, eventually, Messiah. "With oratorios, Handel could be more his own master," says Keates.

Despite his fame, Handel's inner life remains enigmatic. "We know far more about the environment in which he lived and the sort of people he knew than about his private life," Keates adds. Part of the explanation lies in the dearth of personal letters. We must rely on contradictory descriptions of Handel by admirers and detractors, whose opinions were colored by the musical rivalries of 1700s London.

Although he neither married nor was known to have had a long-lasting romantic relationship, Handel was pursued by various young women and a leading Italian soprano, Vittoria Tarquini, according to accounts by his contemporaries. Intensely loyal to friends and colleagues, he was capable of appalling temper outbursts. Because of a dispute over seating in an orchestra pit, he fought a near-fatal duel with a fellow composer and musician, Johann Mattheson, whose sword thrust was blunted by a metal button on Handel's coat. Yet the two remained close friends for years afterward. During rehearsals at a London opera house with Francesca Cuzzoni, Handel grew so infuriated by her refusal to follow his every instruction that he grabbed her by the waist and threatened to hurl her out an open window. "I know well that you are a real she-devil, but I will have you know that I am Beelzebub!" he screamed at the terrified soprano.

Handel, who grew increasingly obese over the years, certainly had an intimidating physique. "He paid more attention to [food] than is becoming to any man," wrote Handel's earliest biographer, John Mainwaring, in 1760. Artist Joseph Goupy, who designed scenery for Handel operas, complained that he was served a meager dinner at the composer's home in 1745; only afterward did he discover his host in the next room, secretly gorging on "claret and French dishes." The irate Goupy produced a caricature of Handel at an organ keyboard, his face contorted into a pig snout, surrounded by fowl, wine bottles and oysters strewn at his feet.

"He may have been mean with food, but not with money," says Keates. Amassing a fortune through his music and shrewd investments in London's burgeoning stock market, Handel donated munificently to orphans, retired musicians and the ill. (He gave his portion of his Messiah debut proceeds to a debtors' prison and hospital in Dublin.) A sense of humanity imbues his music as well-a point often made by conductors who compare Handel with Bach. But where Bach's oratorios exalted God, Handel was more concerned with the feelings of mortals. "Even when the subject of his work is religious, Handel is writing about the human response to the divine," says conductor Bicket. Nowhere is this more apparent than in Messiah. "The feelings of joy you get from the Hallelujah choruses are second to none," says conductor Cummings. "And how can anybody resist the Amen chorus at the end? It will always lift your spirits if you are feeling down."

Handel composed Messiah in an astounding interlude, somewhere between three and four weeks in August and September 1741. "He would literally write from morning to night," says Sarah Bardwell of the Handel House Museum in London. The text was prepared in July by the prominent librettist, Charles Jennens, and was intended for an Easter performance the following year. "I hope [Handel] will lay out his whole Genius & Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject," Jennens wrote to a friend.

There were several reasons for the choice of Dublin for Messiah's debut. Handel had been downcast by the apathetic reception that London audiences had given his works the previous season. He did not want to risk another critical failure, especially with such an unorthodox piece. Other Handel oratorios had strong plots anchored by dramatic confrontations between leading characters. But Messiah offered the loosest of narratives: the first part prophesied the birth of Jesus Christ; the second exalted his sacrifice for humankind; and the final section heralded his Resurrection.

Dublin was one of the fastest-growing, most prosperous cities in Europe, with a wealthy elite eager to display its sophistication and the economic clout to stage a major cultural event. "So it was a great advantage for Handel to make the voyage to Dublin to try out his new work, and then bring it back to London," says Keates, comparing the composer to Broadway producers who tried out plays in New Haven before staging them in New York City.

Messiah's success in Dublin was in fact quickly repeated in London. It took time for Messiah to find its niche as a Christmas favorite. "There is so much fine Easter music-Bach's St. Matthew Passion, most especially-and so little great sacral music written for Christmas," says Cummings. "But the whole first part of Messiah is about the birth of Christ." By the early 19th century, performances of Messiah had become an even stronger Yuletide tradition in the United States than in Britain.

There is little doubt about Handel's own fondness for the work. His annual benefit concerts for his favorite charity-London's Foundling Hospital, a home for abandoned and orphaned children-always included Messiah. And, in 1759, when he was blind and in failing health, he insisted on attending an April 6 performance of Messiah at the Theatre Royal in Covent Garden. Eight days later, Handel died at home.

His total estate was assessed at 20,000 pounds, which made him a millionaire by modern standards. He left the bulk of his fortune to charities and much of the remainder to friends, servants and his family in Germany. His one posthumous present to himself was £600 for his own monument at Westminster Abbey, final resting place for British monarchs and their most accomplished subjects. Three years after Handel's death, the monument by French sculptor Louis François Roubillac, was installed.

Abroad, Handel's reputation-and that of his best-known composition-only continued to grow. Mozart paid Handel the supreme compliment of reorchestrating Messiah in 1789. Even Mozart, however, confessed himself to be humble in the face of Handel's genius. He insisted that any alterations to Handel's score should not be interpreted as an effort to improve the music. "Handel knows better than any of us what will make an effect," Mozart said. "When he chooses, he strikes like a thunderbolt."

Classical music aficionado Jonathan Kandell is based in New York City.

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The Glorious History of Handel's Messiah

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Smithsonian Magazine | George Frideric Handel's Messiah was originally an Easter offering. It burst onto the stage of Musick Hall in Dublin on April 13, 1742. The audience swelled to a record 700, as ladies had heeded pleas by management to wear dresses "without Hoops" in order to make "Room for more company."

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Oratorio "Messiah" by Handel

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Royal Choral Society: 'Hallelujah Chorus' from Handel's Messiah

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Hallelujah Chorus

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How does it work?

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Hallelujah Chorus

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Hallelujah Chorus

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Hallelujah Chorus

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The history of this music genre. Important to read! One of Your final prescribed works is concerto.

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concerto | Definition, History, & Examples

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Concerto: Concerto, a musical composition originating about 1750 in which a solo instrument is set off against an orchestral ensemble.

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Hallelujah Chorus

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Check on this

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Possible test for knowledge checking

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Sample of music analysis required for DP music course

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What is music art? How this machine is a music instrument?

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How It Works - Part 1 (Wintergatan Marble Machine)