Major triads = major third. Minor triad = minor third. Augmented triad = major third and
augmented fifth (ambiguous sound because all intervals are same distance). Diminished = minor
third and minor fifth.
Triads built on do, fa, sol = Major.
Dissonances = 2nd/7th, d5/A5, p4
Found in music of major and minor. Involves resolution of dissonance by 4-7 or 4-5
4 to mediant, 7 to tonic. Works with inversion equally well.
4 (fall by step) to mediant, 5 (in any direction) to 1.
b^& ("scale degree flat 7")
\Any scale that is some rotation of WWHWWWH is a diatonic scale
Double neighbour motion = one neighbour and then the other neighbour and then returning.
Neighbour = next step above or below any note.
So we have a key that consistently fails, then has a more assertive one but it is out of place and
does not resolve, and then it has a true dominant with a leading tone but the voice is never
allowed to resolve that as a phrase ending.
-A vs. G. Same char
Taking it out of rhythm is to make it something where others can't sing along
Drifting attracts attention to herself and away from the president.
Everything about the performance turns the attention off the celebrant and turns it entirely o
Hemiola = regrouping of duple/triple meter. ex blue rondo a la turk
Polyrhythm - putting rhythms that don't rationally divide into each other (both at same time)
-Irregular division: making irregular division of beat (e.g. 5 or 7) (not necessarily both at
Music acts as an agent within culture having a role in us defining how we use words and how we
might interact when we go out; these are cultural communications that are on a completely
different level than the primary.
Many talk about music as a social fu
T: I, i
PD: IV, iv, ii, iio, sometimes; vi, bVI
D: V(7), viio7, viio7
In authentic progression, dominant was followed by tonic.
Dominant in Mozart, Beethoven etc. was always V(7)<-major-minor Five seven chord.
-Cadential dominants are always in root posit
Metric accent = after a bit of time has gone by, we recognize the pattern (it is in our mind).
Sensation of still recognizing where beat 1 is even it is unaccented. Accent used to explain an
otherwise unremarkable moment. Makes syncopation possible.
Inter-functional connectors can be used to BRIDGE between T and PD to sometimes T and D.
Inversion counts here! It is only root positions that really work here.
Common extra note in Jazz chord voicings is a root with added 6th.
Melodic shape can prolong t
Bit rate determines resolution of values.
1 bit = 2values (0,1)
Quantization error = exaggerating of smooth curve. Noise introduced to spread errors out and
compensate for the noise of quantization error
Dynamic range = more bits more range.
One can take any sounds and analyse it for its frequency components (exactly what the
frequency and envelope is overtime. - Further analysis
Timbre and instrumentation - timbre (or tone colour)
Tessitura = where natural comfortable pitch range is in an in
Sound wave- alternations o high and low density traveling through the air. Represent using wave
Wave: Repeats regularly-pitch. NO discernible pattern- noise
Sound propagates outwards in all directions possible. I tube-escapes where it can
Referring to pieces of music
Music=presentation of sonic materials
Composer, Symphony/Sonata/Whatever chronological number key, Name of Piece, What it is
(aria etc), "Nickname"
Bel Canto: Italian 18th 19th cen. adopted as an international style