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Asymetrix ToolBook File | 1994-06-19 | 1.7 MB | 13,608 lines

Main Screen Baroque EarlyMusic Classical Romantic Basics Modern Basics Basics Basics GroupName EarlyMusic Early Music Early Music GroupName Baroque Baroque Baroque GroupName Classical Classical Classical GroupName Romantic Romantic Romantic GroupName Modern Modern Modern GroupName Early Music Early Music GroupName Baroque Baroque Baroque GroupName Classical Classical Classical GroupName Romantic Romantic Romantic GroupName Modern Modern Modern GroupName Basics buttonUp buttonUp Basics buttonUp Basics Basics Early Music buttonUp buttonUp EarlyMusic buttonUp EarlyMusic Early Music Baroque buttonUp buttonUp o]<Baroque buttonUp o]<Baroque Baroque Classical buttonUp buttonUp Classical buttonUp Classical Classical Romantic buttonUp buttonUp o=kRomantic buttonUp o=kRomantic Romantic Modern buttonUp buttonUp Modern buttonUp Modern Modern Basics Melody Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName fontcolor 0,0,0 facecolor 0,0,0 stokecolor 0,0,0 Melody Rhythm Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName Rhythm Harmony Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName Harmony Timbre Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName Timbre Texture Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName Texture Form Basics buttonUp buttonUp EnterModule TargetName EnterModule TargetName Basicssssss Early Music Early Music Melody buttonUp buttonUp EnterModule TargetName EnterModule TargetName Melody Early Music Early Music Rhythm buttonUp buttonUp EnterModule TargetName EnterModule TargetName Rhythm Early Music Harmony buttonUp buttonUp EnterModule TargetName EnterModule TargetName Harmony Early Music Timbre buttonUp buttonUp EnterModule TargetName EnterModule TargetName Timbre Early Music Texture buttonUp buttonUp EnterModule TargetName EnterModule TargetName Texture Early Music Form buttonUp buttonUp EnterModule TargetName EnterModule TargetName Baroque Baroque Baroque Melody buttonUp buttonUp EnterModule TargetName EnterModule TargetName Melody Baroque Rhythm buttonUp buttonUp EnterModule TargetName EnterModule TargetName Rhythm Baroque Harmony buttonUp buttonUp EnterModule TargetName EnterModule TargetName Harmony Baroque Timbre buttonUp buttonUp EnterModule TargetName EnterModule TargetName Timbre Baroque Texture buttonUp buttonUp EnterModule TargetName EnterModule TargetName Texture Baroque Form buttonUp buttonUp EnterModule TargetName EnterModule TargetName Classical Classical Classical Melody buttonUp buttonUp EnterModule TargetName EnterModule TargetName Melody Classical Rhythm buttonUp buttonUp EnterModule TargetName V%,$$& EnterModule TargetName Rhythm Classical Harmony buttonUp buttonUp EnterModule TargetName R&(% ' EnterModule TargetName Harmony Classical Timbre buttonUp buttonUp EnterModule TargetName EnterModule TargetName Timbre Classical Texture buttonUp buttonUp EnterModule TargetName EnterModule TargetName Texture Classical Form buttonUp buttonUp EnterModule TargetName EnterModule TargetName Romantic Romanticc Romantic Melody buttonUp buttonUp EnterModule TargetName EnterModule TargetName Melody Romantic Rhythm buttonUp buttonUp EnterModule TargetName EnterModule TargetName Rhythm Romantic Harmony buttonUp buttonUp EnterModule TargetName EnterModule TargetName Harmony Romantic Timbre buttonUp buttonUp EnterModule TargetName .|-r/ EnterModule TargetName Timbre Romantic Texture buttonUp buttonUp EnterModule TargetName /v.j0 EnterModule TargetName Texture Romantic Form buttonUp buttonUp EnterModule TargetName EnterModule TargetName Modern Modernn Modern Melody buttonUp buttonUp EnterModule TargetName EnterModule TargetName Melody Modern Rhythm buttonUp buttonUp EnterModule TargetName EnterModule TargetName Rhythm Modern Harmony buttonUp buttonUp EnterModule TargetName EnterModule TargetName Harmony Modern Timbre buttonUp buttonUp EnterModule TargetName EnterModule TargetName Timbre Modern Texture buttonUp buttonUp EnterModule TargetName EnterModule TargetName Texture Modern Form buttonUp buttonUp EnterModule TargetName EnterModule TargetName leavePage enterPage NoteOn NoteOff enterPage scale.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError NoteOn Ledger Line Ledger Line Ledger Line Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError errorValue NonMultimedia EndLoc StartLoc Multimedia SystemState MIDIFile TargetName NoteOff tbkMCI tbkMCI seqSendEvent errorValue NonMultimedia Multimedia SystemState MIDIFile TargetName Generally speaking, when the top number of the time signature is 6, 9, or 12, we have a time signature for compound time. In such cases, the top number indicates how many divisions of the beat there are in each measure, and the bottom number indicates which note value is the division of a single beat or count. or counts in each measure. In such cases, the bottom number indicates which note value gets a single beat or count. arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Identifying Compound Time Signatures :PHYSSIZE * B * P Q * :PHYSSIZE As you listen to each example, notice that the value of each beat is some sort of dotted note. y. To get the idea, watch the metronome as each of these examples are played.The display on the metronome will show you the beat numbers as they occur and will also show you the note value of each beat. half as long as the previous note in the chart. us note in the chart. note in the chart. are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Rhythms in Compound Time buttonUp buttonUp rea36d.mid rea36d.mid Playing ShortName TargetID rea36d.mid rea36d.mid Playing ShortName TargetID buttonUp buttonUp rea36c.mid rea36c.mid Playing ShortName TargetID rea36c.mid rea36c.mid Playing ShortName TargetID buttonUp buttonUp rea36b.mid rea36b.mid Playing ShortName TargetID rea36b.mid rea36b.mid Playing ShortName TargetID buttonUp buttonUp rea36a.mid rea36a.mid Playing ShortName TargetID rea36a.mid rea36a.mid Playing ShortName TargetID NoteUp enterPage NoteDown NoteFunctions enterPage Counter TargetName NoteUp Ledger Line Ledger Line 'bNoteFunctions NoteDown Ledger Line Ledger Line 'bNoteFunctions NoteFunctions Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Counter TargetName enterPage Interval enterPage unis.mid unis.mid maj2nd.mid maj2nd.mid maj3rd.mid maj3rd.mid p4th.mid p4nd.mid p5th.mid p5th.mid maj6th.mid maj6th.mid maj7th.mid maj7th.mid p8va.mid p8va.mid RadioButtonName Interval unis.mid maj2nd.mid maj2nd maj3rd.mid maj3rd p4th.mid p5th.mid maj6th.mid maj6th maj7th.mid maj7th p8va.mid Example1 Example2 leavePage Example3 Example4 seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI rea33a.mid CExample1 rea33b.mid pCExample2 rea33c.mid CExample3 rea33d.mid <DExample4 Multimedia NonMultimedia SystemState Playing MIDIFile TargetID ShortName leavePage Playing Example1 Example2 Example3 Example4 Example1 Example2 leavePage Example3 Example4 seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI rea36a.mid CExample1 rea36b.mid pCExample2 rea36c.mid CExample3 rea36d.mid <DExample4 Multimedia NonMultimedia SystemState Playing MIDIFile TargetID ShortName leavePage Playing Example1 Example2 Example3 Example4 NoteUp enterPage NoteDown NoteFunctions enterPage Counter TargetName NoteUp Ledger Line Ledger Line 'bNoteFunctions NoteDown Ledger Line Ledger Line 'bNoteFunctions NoteFunctions Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Counter TargetName leavePage enterPage NoteOn NoteOff enterPage scale.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError NoteOn Ledger Line Ledger Line Ledger Line Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError errorValue NonMultimedia EndLoc StartLoc Multimedia SystemState MIDIFile TargetName NoteOff tbkMCI tbkMCI seqSendEvent errorValue NonMultimedia Multimedia SystemState MIDIFile TargetName leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing MIDIFile TargetID leavePage Playing GoToSession ToSession OpenToLastPage MIDISetup dialogMessage leavePage NonMultimediaCheck InitializeMultimediaWarning RestorePageSize InitializeMultimedia InitializeNonMultimedia InitializationError MusicMentor GeneralError ReadingMusic EnterModule AboutMusicMentor MNext MPrev leaveBook MainScreen MMain ReadSetupFile GoToHistory BackToBasics ExplodeArchive RememberPage Index RemoveIndexEntry WriteSetupFile GoToPage OpenSequence keyDown SessionPreferences ResetMIDI PatchZero NoteOn DeleteArchive NoteOff SessionPrefsCheck SetLayers Focuser dialogMessageDiagnostic LinkToSession DoHelp CreateInvisWindow SwitchToPrevInstance enterBook DestroyInvisWindow CheckForPreviousInstance enterBook CheckForPreviousInstance SwitchToPrevInstance CreateInvisWindow sizeToPage reader SaveAs Import Export PrintReport PrinterSetup PrintPages SelectAll SelectPage History NewPage Tutorial Keyboard Commands UsingHelp Glossary Index &Link to Session... &Session Preferences... &Go to Session Ctrl+G Remember &Page... &Index... Ctrl+I &Main Screen &Mentor R&eading Music Mentor Mentor &MIDI Setup... Mentor &Open To Last Page Mentor Restore &Page Size Ctrl+P Mentor &Info... Mentor Mentor &Reset MIDI Mentor &Music Mentor... About M&usic Mentor... FReadSetupFile RUNTIME\ tbkfile.dll fileExists getFileAttributes setFileAttributes getFileList removeFile getCurrentDirectory getCurrentDrive setCurrentDirectory Could not find the following file: tbkfile.dll Please make sure that it is in the following subdirectory: RUNTIME\ Otherwise certain functions of Music Mentor will not work properly. Exit Mentor Now Ignore Exit Mentor Now tbkdlg.dll dialog setValue getValue openDlg Could not find the following file: tbkdlg.dll Please make sure that it is in the following subdirectory: RUNTIME\ Otherwise certain functions of Music Mentor will not work properly. Exit Mentor Now Ignore Exit Mentor Now WinHelp GetDlgItem GetWindowTextLength EnableWindow CheckRadioButton SetFocus SendDlgItemMessage SendMessage kernel getWindowsDirectory getWindowsDirectory \system\mmsystem.dll fileExists WindowsMultimedia WindowsNonMultimedia WindowsNonMultimedia Multimedia NonMultimedia Normal MIDI Files WriteSetupFile midfiles\ WriteSetupFile oExplodeArchive Multimedia InitializeMultimedia NonMultimedia InitializeNonMultimedia Open To Last Page ExitingToSession buttonGreen buttonRed WindowsDir WindowsVersion MIDIPath OpenToLastPage Playing TargetID MIDIFile LastPageID SeqPath Sound SystemState FileType IRQLevel IOAddress RuntimePath MUSIC_MENTOR leaveBook Main Screen 2DeleteArchive tbkmm.dll seqExit GeneralError midisoft.dll tbkfile.dll tbkdlg.dll WriteSetupFile bDestroyInvisWindow errorValue NonMultimedia Multimedia ExitingToSession SystemState GroupName RuntimePath LastPageID OpenToLastPage leavePage Playing status tbkMCI stopped buttonUp seqStatus buttonUp NonMultimedia Multimedia SystemState Playing TargetID MIDIFile ExplodeArchive midfiles.exe fileExists *.mid getFileList Music Mentor needs to prepare its MIDI Files the first time it runs. If you select "Prepare MIDI Files" Music Mentor will take a minute to do this. If you select "Don't Prepare MIDI Files" Music Mentor will launch, but no MIDI files will be available for playback. Prepare MIDI Files Don't Prepare MIDI Files Prepare MIDI Files getCurrentDrive getCurrentDirectory setCurrentDirectory midfiles.exe setCurrentDirectory NewDirectory OldDirectory CurrentDirectory CurrentDrive MIDIPath DeleteArchive midfiles.exe fileExists *.mid getFileList midfiles.exe removeFile MIDIPath OpenToLastPage Open To Last Page Open To Last Page WriteSetupFile OpenToLastPage RestorePageSize sizeToPage MusicMentor mentor.hlp fileExists Could not find the following file: mentor.hlp Please make sure that it is in the following subdirectory: RUNTIME\ mentor.hlp WinHelp helpFileName Playing RuntimePath HelpText AboutMusicMentor dlgInitAbout dlgBoxAbout dialog retValue ReadSetupFile setup.mnt setup.mnt setup.mnt Multimedia NonMultimedia No MIDI Driver setup.mnt setup.mnt Device-Independent MIDI Files Normal MIDI Files setup.mnt setup.mnt 2,3,4,5,6,7 setup.mnt setup.mnt 300,310,320,330,332,334,336,340 setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt setup.mnt ChannelRange MapperInSession PromptBeforeSession IOAddress MIDIPath SeqPath OpenToLastPage LastPageID SystemState FileType IRQLevel WriteSetupFile setup.mnt SystemState; FileType; I/O Address; MIDIPath; SeqPath; OpenToLastPage; ChannelRange; MapperInSession; PromptBeforeSession; setup.mnt setup.mnt ChannelRange MapperInSession PromptBeforeSession IOAddress MIDIPath SeqPath OpenToLastPage LastPageID SystemState FileType IRQLevel keyDown Index RestorePageSize GoToSession isCtrl isShift SessionPreferences FReadSetupFile 13/16 Base Level Extended Level dlgInitSessionPrefs button setValue button Use MIDI Mapper in Session setValue button Use MIDI Mapper in Session FALSE setValue button Prompt Before Going to Session setValue button Prompt Before Going to Session FALSE setValue dlgBoxSessionPrefs dialog button OK getValue button Base Level getValue 13/16 button Extended Level getValue button Use MIDI Mapper in Session getValue button Prompt Before Going to Session getValue SessionPrefsCheck WriteSetupFile retValue Level ChannelRange MapperInSession PromptBeforeSession SessionPrefsCheck Please select Base Level, Extended Level, or Cancel. Please select Base Level, Extended Level, or Cancel. 5SessionPreferences RecursionCounter LinkToSession FReadSetupFile getCurrentDrive getCurrentDirectory setCurrentDirectory *.exe Please locate Recording Session. Link To Session openDlg WriteSetupFile setCurrentDirectory setCurrentDirectory CurrentDirectory MIDIEditorDirectory SeqPath Playing GoToSession Are you sure you want to go to Recording Session? Cancel Cancel tbkmm.dll seqExit GeneralError midisoft.dll getFileAttributes setFileAttributes FReadSetupFile fileExists fLinkToSession setCurrentDirectory Device-Independent MIDI Files 5SessionPreferences Device-Independent MIDI Files Normal MIDI Files TBOOK.EXE "Return to Mentor" FullPathName MIDIEditorDirectory errorValue NonMultimedia Multimedia TempChannelRange TempMapperInSession PromptBeforeSession ChannelRange MapperInSession ExitingToSession Playing SystemState RuntimePath SeqPath MIDIFile FileType ToSession GoToSession MIDISetup FReadSetupFile Multimedia Multimedia MIDI driver Multimedia NonMultimedia Midisoft MIDI Driver NonMultimedia No MIDI Driver No MIDI Driver No MIDI Driver Device-Independent MIDI Files Normal MIDI Files dlgInitMIDISetup button setValue button setValue button IRQ setValue button setValue Dialog Message dialogMessage setValue dlgBoxMIDISetup dialog button OK getValue button Multimedia MIDI Driver getValue WindowsNonMultimedia NonMultimediaCheck Multimedia button Midisoft MIDI Driver getValue NonMultimedia button No MIDI Driver getValue No MIDI Driver button Device-Independent MIDI Files getValue Device-Independent MIDI Files button Normal MIDI Files getValue Normal MIDI Files button IRQ 2 getValue button IRQ 3 getValue button IRQ 4 getValue button IRQ 5 getValue button IRQ 6 getValue button IRQ 7 getValue button 300H getValue button 310H getValue button 320H getValue button 330H getValue button 332H getValue button 334H getValue button 336H getValue button 340H getValue WriteSetupFile systemState Multimedia NonMultimedia seqExit GeneralError InitializeMultimedia InitializeMultimediaWarning systemState NonMultimedia Multimedia InitializeNonMultimedia systemState No MIDI Driver NonMultimedia seqExit GeneralError Multimedia errorValue retValue StateButton CardButton IRQButton IOAddressButton OldSystemState SeqPath Playing WindowsVersion SystemState FileType IRQLevel IOAddress MIDIPath O H@G dialogMessage checkRadioButton lParamHI lParamLO wParam wMessage NonMultimediaCheck The Multimedia MIDI Driver cannot be initialized under Windows 3.0 unless Microsoft's Multimedia Extensions are installed. You have selected the Multimedia MIDI Driver option. You cannot use this driver when running under Windows 3.0 unless Microsoft's Multimedia Extensions are installed. Please select the Midisoft MIDI Driver option. MIDISetup errorValue RecursionCounter InitializeMultimediaWarning You have selected the Multimedia MIDI Driver option. Please make sure the MIDI Mapper and MIDI Drivers(s) in the Windows Control Panel are properly configured for your system. InitializeMultimedia tbkmm.dll tbkMCI Could not find the following file: tbkmm.dll Please make sure that it is in the following subdirectory: RUNTIME\ RuntimePath InitializeNonMultimedia midisoft.dll seqInit seqExit seqOpen seqClose seqPlay seqStop seqPause seqError seqVersion seqSendEvent seqTempo seqStatus Could not find the following file: midisoft.dll Please make sure that it is in the following subdirectory: RUNTIME\ seqInit pInitializationError Tempo LocalIOADddress IRQLevel IOAddress RuntimePath errorValue InitializationError If you are having difficulty with the Midisoft MIDI Driver, check your MIDI interface to make sure it is properly installed, and make sure your IRQ and I/O Address settings are not conflicting with another device in your system. You might also try exiting Music Mentor, powering down your computer, launching Music Mentor, and trying again. At this time, the Midisoft MIDI Driver is not initialized. You may use Music Mentor, but you will not be able to play any of the examples. Music Mentor just tried to prepare the Midisoft MIDI Driver for playback but was unsuccessful. This probably happened because Music Mentor is set to the wrong IRQ (Interrupt) Level or I/O Address settings for your MIDI Interface. Please make sure the IRQ and I/O Address settings in the MIDI Setup dialog box match the settings of your MIDI interface. MIDISetup errorValue RecursionCounter GeneralError The Midisoft MIDI Driver reported an error. errorValue SuspendError ReadingMusic Main Screen Main Screen Reading Basics EnterModule GroupName TargetName EnterModule TargetName MNext Basics Melody BackgroundName MPrev Basics Melody BackgroundName MainScreen MMain MMain Main Screen GoToHistory History Buttons History History Destination TargetName BackToBasics Basics BackgroundName RememberPage Main Screen 'Main Screen' is already in the index list. How would you like to remember this page? How would you like to remember this page? cancel Please do not use semicolons in your description of this page. Page descriptions must be 32 characters or less. index.mnt index.mnt index.mnt Label Counter RuntimePath Playing Index index.mnt fileExists Could not find the following file: index.mnt Please make sure that it is in the following subdirectory: RUNTIME\ index.mnt index.mnt index.mnt end of file index.mnt dlgInitIndex listbox Index setValue dlgBoxIndex dialog button Remove Entry getValue listbox Index getValue Please select an index entry to remove. RemoveIndexEntry button Go To Page getValue listbox Index getValue Please select a page to go to. NeGoToPage listbox Index getValue NeGoToPage retValue IndexItems RuntimePath TargetPage Playing RemoveIndexEntry Main Screen Cannot remove Main Screen from list. index.mnt index.mnt index.mnt end of file index.mnt index.mnt index.mnt index.mnt FirstPart LastPart TargetLine RuntimePath TargetPage GoToPage index.mnt index.mnt end of file index.mnt TargetLine RuntimePath TargetPage OpenSequence close all tbkMCI fileExists *.mid Please locate this MIDI file: Locate MIDI Files openDlg WriteSetupFile tbkMCI seqOpen GeneralError Multimedia LongName Playing errorValue SystemState FileType ShortName MIDIFile MIDIPath No MIDI Driver You need a sound card or a MIDI interface in order to play a musical example. oY OpenSequence tbkMCI seqPlay GeneralError Multimedia PAPath SBPath GMPath errorValue buttonRed buttonGreen ShortName MIDIFile SystemState Playing TargetID stop all tbkMCI close all tbkMCI seqStop errorValue Multimedia SystemState Playing TargetID buttonGreen ResetMIDI No MIDI Driver reset.mid oY OpenSequence tbkMCI seqPlay GeneralError stop all tbkMCI close all tbkMCI seqStop errorValue Multimedia SystemState ShortName MIDIFile PatchZero seqSendEvent GeneralError errorValue NoteOn to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError errorValue NonMultimedia EndLoc StartLoc Multimedia SystemState MIDIFile TargetName NoteOff tbkMCI tbkMCI seqSendEvent errorValue NonMultimedia Multimedia SystemState MIDIFile TargetName FReadSetupFile Music Mentor Info: SystemState = FileType = IRQLevel = IOAddress = MIDIPath = SeqPath = OpenToLastPage = LastPageID = WindowsVersion = WindowsDir = MIDIFile = UniqueName of this book = ChannelRange = MapperInSession = PromptBeforeSession = WindowsDir PromptBeforeSession WindowsVersion MIDIFile ChannelRange MapperInSession IOAddress MIDIPath SeqPath OpenToLastPage LastPageID SystemState FileType IRQLevel SetLayers Main Screen Back To Basics Focuser This object currently has the focus. Type the name of another object and click OK to change the focus. Cancel is not a valid object name. dialogMessageDiagnostic hDlg: wMessage: wParam: lParamLO: lParamHI: lParamHI lParamLO wParam wMessage DoHelp mentor.hlp fileExists Could not find the following file: mentor.hlp Please make sure that it is in the following subdirectory: RUNTIME\ mentor.hlp WinHelp helpFileName RuntimePath CheckForPreviousInstance USER.EXE FindWindow MusicMentorInvisibleClass Midisoft Invisible FindWindow mentorWnd CreateInvisWindow MENTOR.DLL CreateInvisibleWindow CreateInvisibleWindow MUSIC_MENTOR SwitchToPrevInstance MENTOR.DLL SwitchToFirstInstance SwitchToFirstInstance DestroyInvisWindow MENTOR.DLL DestroyInvisibleWindow DestroyInvisibleWindow terPage leavePage enterPage Guess enterPage Score Guessed Score leavePage Two streams converging. Guess The broad and mighty Moldau. Guess Nymphs in the night. Guess The hunt. Guess A wedding celebration. Guess Playing LastPage Guess Two streams converging. You're right! That's ' Score Sorry, that isn't ' The broad and mighty Moldau. You're right! That's ' Score Sorry, that isn't ' Nymphs in the night. You're right! That's ' Score Sorry, that isn't ' The hunt. You're right! That's ' Score Sorry, that isn't ' A wedding celebration. You're right! That's ' Score Sorry, that isn't ' TargetName ShortName Score Guessed Playing leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing Example1 Example2 leavePage Example3 Example4 seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI rea32a.mid CExample1 rea32b.mid pCExample2 rea32c.mid CExample3 rea32d.mid <DExample4 Multimedia NonMultimedia SystemState Playing MIDIFile TargetID ShortName leavePage Playing Example1 Example2 Example3 Example4 NoteUp enterPage NoteDown NoteFunctions enterPage Counter TargetName NoteUp Ledger Line Ledger Line 'bNoteFunctions NoteDown Ledger Line Ledger Line 'bNoteFunctions NoteFunctions Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Counter TargetName leavePage enterPage NoteOn NoteOff enterPage Half Steps Above Half Steps Above halfab.mid oY OpenSequence Half Steps Below Half Steps Below halfbe.mid oY OpenSequence Whole Steps Above Whole Steps Above holeab.mid oY OpenSequence Whole Steps Below Whole Steps Below holebe.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName RadioButtonName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError NoteOn Half Steps Above This is the highest note on the keyboard. to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError seqSendEvent GeneralError seqSendEvent GeneralError Half Steps Below This is the lowest note on the keyboard. to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError seqSendEvent GeneralError PatchZero seqSendEvent GeneralError Whole Steps Above There is no note a whole step higher on this keyboard. This is the highest note on the keyboard. to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError seqSendEvent GeneralError PatchZero seqSendEvent GeneralError Whole Steps Below There is no note a whole step lower on this keyboard. This is the lowest note on the keyboard. to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError seqSendEvent GeneralError PatchZero seqSendEvent GeneralError errorValue NonMultimedia EndLoc StartLoc Multimedia DelayTime SystemState MIDIFile TargetName RadioButtonName NoteOff Half Steps Above tbkMCI tbkMCI seqSendEvent Half Steps Below tbkMCI tbkMCI seqSendEvent Whole Steps Above tbkMCI tbkMCI seqSendEvent Whole Steps Below tbkMCI tbkMCI seqSendEvent errorValue NonMultimedia Multimedia SystemState MIDIFile TargetName RadioButtonName :PHYSSIZE :PHYSSIZE Sharps normally appear in a standard order in a key signature. Below are all seven key signatures which use sharps (including the key signature of zero sharps). Each is identified by the major and minor keys for which it is generally used. ey signature of zero flats). Each is identified by the major and minor keys for which it is generally used. he major and minor keys for which it is generally used. lly used. between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Standard Key Signatures for Sharpss Note durations are normally represented with a common set of symbols: note heads, stems, and flags or beams. In descending order of duration, note values in common use range from the double whole note (the longest note value) to the 64th note (the shortest note value). Each of these notes lasts exactly half as long as the note above it in the chart. us note in the chart. note in the chart. are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Simple Notes :PHYSSIZE :PHYSSIZE Simple notes are always divisible into two equal parts. f identifies this particular note on the staff. Although the F clef can appear on any line, this clef normally identifies the second line from the top of the staff. Can you see the resemblance between an F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Division of Simple Notes :PHYSSIZE Note durations are relative. For example, in a fast piece, a quarter note might be a quick note, but in a slow piece a quarter note might be rather long. In both cases, a quarter note will be twice as long as an eighth note and half as long as a half note. F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Relative Durations of Simple Notes :PHYSSIZE buttonUp buttonUp rea23a.mid Playing ShortName TargetID rea23a.mid Playing ShortName TargetID For every note value there is an equivalent symbol for silence called a rest. Each type of rest lasts as long as its corresponding note value. For example, a quarter rest lasts as long as a quarter note. The only exception is the whole rest. The whole rest may be used as a symbol for an entire measure of silence in any time signature. ed in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Simple Rests :PHYSSIZE :PHYSSIZE A tie is a curved line which connects two notes of the same pitch. When two notes are joined with a tie, they become, in effect, a single note. Rests are never tied! (If you think about it, a tied rest would make no sense!) he resemblance between an F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Tiest :PHYSSIZE A dot which is placed immediately after a note lengthens the note by half its value. second dot lengthens the note by half the value of theprevious dot, and so on. A dotted note may be thought of as a compound note: a single note made from two or more notes. script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Compound Notes :PHYSSIZE A second dot lengthens the note by half the value of the previous dot, and so on. dotted note may be thought of as a compound note: a single note made from two or more notes. on. A dotted note may be thought of as a compound note: a single note made from two or more notes. script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? :PHYSSIZE A dotted note may be thought of as a compound note: a single note made from two or more notes. note may be thought of as a compound note: a single note made from two or more notes. on. A dotted note may be thought of as a compound note: a single note made from two or more notes. script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Unlike simple notes, compound notes are naturally divisible into three equal parts. note on the staff. Although the F clef can appear on any line, this clef normally identifies the second line from the top of the staff. Can you see the resemblance between an F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Division of Compound Notes :PHYSSIZE Of course, rests may have dots, too. bass F. The F clef identifies this particular note on the staff. Although the F clef can appear on any line, this clef normally identifies the second line from the top of the staff. Can you see the resemblance between an F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Compound Rests :PHYSSIZE For several hundred years, it has been the common practice to divide a piece of music into equal segments of time called measures. Measures are bounded by vertical lines called barlines. Note that in this example, the physical width of each measure is different. Furthermore, each measure contains a different number of notes. However, the total duration of the notes in each measure is the same. e inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Measurements of Musical Time :PHYSSIZE So how do you know what the total duration of each measure will be in a piece? The composer tells you by giving you a time signature. The time signature is the pair of numbers which appears at the beginning of the piece. In simple cases, the upper number tells you how many units of time there are in each measure, and the bottom number tells you what the unit of measurement is. In 3/4 time, for example, there are the equivalent of three quarter notes in each measure. cript G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Time Signaturesnatures :PHYSSIZE :PHYSSIZE Earlier we defined simple notes to be notes without dots (e.g. half notes, quarter notes, etc.). Simple time signatures are time signatures that designate a simple note as the unit of measurement. Generally speaking, when the top number of the time signature is 2, 3, or 4, it indicates the actual number of beats or counts in each measure. In such cases, the bottom number indicates which note value gets a single beat or count. arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Simple Time Signatures :PHYSSIZE N&N&N& A good way to figure out how to play the rhythms in a piece is to count the beats steadily as you listen. During each of the examples below you will hear a click on every beat. display on the metronome will show you the beat numbers as they occur and will also show you the note value of each beat. half as long as the previous note in the chart. us note in the chart. note in the chart. are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Rhythms in Simple Time :PHYSSIZE 2*O^% buttonUp buttonUp rea32d.mid rea32d.mid Playing ShortName TargetID rea32d.mid rea32d.mid Playing ShortName TargetID 2$0^$ buttonUp buttonUp rea32c.mid rea32c.mid Playing ShortName TargetID rea32c.mid rea32c.mid Playing ShortName TargetID buttonUp buttonUp rea32b.mid rea32b.mid Playing ShortName TargetID rea32b.mid rea32b.mid Playing ShortName TargetID buttonUp buttonUp rea32a.mid rea32a.mid Playing ShortName TargetID rea32a.mid rea32a.mid Playing ShortName TargetID There are two symbols that are frequently used in place of 4/4 time and 2/2 time: The special symbol for 4/4 time is called common time. The special symbol for 2/2 time is called cut time or alla breve. You may have noticed that 4/4 time is mathematically the same as 2/2 time. Both time signatures define measures that contain four quarter notes. The practical difference between the two time signatures is that the basic beat is given to a half note in 2/2 and to a quarter note in 4/4. As a result, the quarter notes in 2/2 time are generally faster than they would be if the time signature were 4/4. n this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Common and Cut Time :PHYSSIZE There are often two or more notes per beat in these examples. mples. ly as you play. To get the idea, watch the metronome as each of these examples are played.The display on the metronome will show you the beat numbers as they occur and will also show you the note value of each beat. half as long as the previous note in the chart. us note in the chart. note in the chart. are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? More Rhythms in Simple Time :PHYSSIZE buttonUp buttonUp rea33d.mid rea33d.mid Playing ShortName TargetID rea33d.mid rea33d.mid Playing ShortName TargetID buttonUp buttonUp rea33c.mid rea33c.mid Playing ShortName TargetID rea33c.mid rea33c.mid Playing ShortName TargetID buttonUp buttonUp rea33b.mid rea33b.mid Playing ShortName TargetID rea33b.mid rea33b.mid Playing ShortName TargetID buttonUp buttonUp rea33a.mid rea33a.mid Playing ShortName TargetID rea33a.mid rea33a.mid Playing ShortName TargetID Earlier we defined compound notes to be notes with dots (e.g. dotted half notes, dotted quarter notes, etc.). Compound time signatures are time signatures that designate a compound note as the unit of measurement. Unfortunately, we do not have a number which can represent a compound note--such as a dotted quarter note--in a time signature. Therefore, if we want to designate a compound note as the unit of measurement, we generally use a time signature which shows how many divisions of the beat there are in each measure. For example, if there are two beats per meas- ure and each beat is a dotted quarter note, we write the time signature as 6/8. Why 6/8? The eighth note represents the division of the dot- ted quarter-note beat. Whenever there are two dotted quarter-note beats in each measure, there also must be the equivalent of six eighth notes. questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Compound Time Signatures :PHYSSIZE enterPage leavePage enterPage scale.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError enterPage scale.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError By tradition, seven alphabetical letters from A to G have been used to name the pitches of notes. To discover how this naming convention works, explore the keyboard below by clicking the white notes. (The notes that are usually black on a piano keyboard are inactive here.) Notice that the letter names repeat every eight notes -- a distance known as an octave. While experimenting with this keyboard, you may have noticed that notes which are an octave apart (such as C and C) sound similar. This phenomenon results from the fact that playing the higher of the two notes produces a sound with twice as many vibrations per second as playing the lower note. The note one octave higher is also the first note in the overtone series of the lower note. (See Timbre Basics for more information about overtones). r do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Naming Pitches :PHYSSIZE buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a2"| <#me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName $\'me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName (|+me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a2-|+<.me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName /\2me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 3|6me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a28|6<9me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName :\=me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName In order to determine the exact pitch of a note on the staff, it is necessary to define a single line on the staff as a point of reference using a symbol called a clef. (By tradition, clefs are not put on spaces.) The two most common clefs are: oday are: any people have it (or claim to have it), rhythm is one of the most difficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Clefs :PHYSSIZE FhZcDh The famous middle C, a note about which you may have heard rumors, is the particular C which is located closest to the middle of the keyboard. The first G above middle C is often called treble G. The G clef identifies this particular note on the staff. Although the G clef can appear on any line, this clef normally encircles the second line from the bottom of the staff. If you squint and use lots of imagination, you can see the striking similarity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The notes that are usually black on a piano keyboard are inactive here.) . (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? :PHYSSIZE G Clef or Treble Clef :PHYSSIZE Note Name GClef or Treble Cleff postion 4575,3756 :PHYSSIZE Ledger Line :PHYSSIZE buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName "\%me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName &|)me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a2+|)<,me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName -^0Name buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 1~4me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a46~4>7me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 7hilight buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 8z;me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0=z;:>me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName ?ZBme buttonUp o7=NoteOff TargetName !E:H buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 19HAS buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName CzFme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0HzF:Ime buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 07 &J buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName JZMme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName NzQme buttonUp o7=NoteOff TargetName 12`:R buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0SzQ:Tme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2:):] buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName UZXme buttonUp o7=NoteOff TargetName 2,#:[ buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName Yz\me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0^z\:_me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName `Zcme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName Click notes in this range Click white notes in this range c2cXc~c d<dbd d eFele f*fnf The first F below middle C is often called bass F. The F clef identifies this particular note on the staff. Although the F clef can appear on any line, this clef normally identifies the second line from the top of the staff. Can you see the resemblance between an F clef symbol and an old-fashioned script F? To see how notes are identified in the bass clef, click the white keys on this keyboard. (The notes that are usually black on a piano keyboard are inactive here.) fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? :PHYSSIZE :PHYSSIZE F Clef or Bass Clefef Note Name FElef or Treble Cleff :PHYSSIZE :PHYSSIZE buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName "|%me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a2'|%<(me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName )\,me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName /Name buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName -~0me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a42~0>3me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 4z7me buttonUp o7=NoteOff TargetName h6hilight buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a09z7::me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName ;Z>me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName !E:H buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName ?zBme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 19HAS buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0DzB:Eme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName FZIme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 07 &J buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName JzMme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0OzM:Pme buttonUp o7=NoteOff TargetName 12`:R buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName QZTme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2:):] buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2,#:[ buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName UzXme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0ZzX:[me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName \Z_me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName Click white notes in this rangeeangee Ledger Line c2cXc~c d<dbd d eFele f*fnf Often treble and bass clefs are combined into a double staff system called the grand staff. The grand staff is most often used for keyboard instruments of all types as well as the harp. Explore the grand staff by clicking the white keys on this keyboard. (The notes that are usually black on a piano keyboard are inactive here.) e identified in the bass clef, click the white keys on this keyboard. (The black notes are inactive.) arity between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? :PHYSSIZE :PHYSSIZE The Grand Staff Note Name CElef or Treble Cleff :PHYSSIZE :PHYSSIZE buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName "|%me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a2'|%<(me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName )\,me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName /Name buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName -~0me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a42~0>3me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 4z7me buttonUp o7=NoteOff TargetName h6hilight buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a09z7::me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName ;Z>me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName !E:H buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName ?zBme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 19HAS buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0DzB:Eme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName FZIme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 07 &J buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName JzMme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0OzM:Pme buttonUp o7=NoteOff TargetName 12`:R buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName QZTme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2:):] buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2,#:[ buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName UzXme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a0ZzX:[me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName \Z_me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName Click white notes in this rangeeangee Ledger Line The terms half step and whole step are used to describe small distances on the keyboard. A half step is the distance between two immediately adjacent notes--white or black. A whole step is the distance between any two notes which have exactly one note in between. Another way to think of a whole step is that it is the sum of two half steps. As you have no doubt noticed, adjacent pairs of white notes on the keyboard are not always the same distance apart. Some adjacent pairs of white notes have a black note in between, and some do not. Explore half and whole steps by clicking notes on the keyboard below. Click and hold a note on the keyboard to see and hear the appropriate interval. r whole step. e displayed. tep--will be displayed. your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Half Steps and Whole Steps :PHYSSIZE buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a("r 2#me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName $R'me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName (t+Name buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a*-t+4.me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName /T2me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2hilight buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a&4T205me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName 6P9me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName :p=me buttonUp o7=NoteOff TargetName !E:H buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a&?p=0@me buttonUp o7=NoteOff TargetName 19HAS buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName APDme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 07 &J buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName EpHme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a&JpH0Kme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 12`:R buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName LPOme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName 2:):] buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName PpSme buttonUp o7=NoteOff TargetName 2,#:[ buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName a&UpS0Vme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName WPZme buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName [p^me buttonUp o7=NoteOff TargetName buttonDown buttonUp buttonDown NoteOn TargetName buttonUp o7=NoteOff TargetName buttonUp o7=NoteOff TargetName Half Steps Above Half Steps Above Half Steps Below Half Steps Below Whole Steps Above Whole Steps Above Whole Steps Below Whole Steps Below buttonUp buttonUp Half Steps Above halfab.mid oY OpenSequence Half Steps Below halfbe.mid oY OpenSequence Whole Steps Above holeab.mid oY OpenSequence Whole Steps Below holebe.mid oY OpenSequence Multimedia Playing SystemState ShortName RadioButtonName Half Steps Above halfab.mid oY OpenSequence Half Steps Below halfbe.mid oY OpenSequence Whole Steps Above holeab.mid oY OpenSequence Whole Steps Below holebe.mid oY OpenSequence Multimedia Playing SystemState ShortName RadioButtonName Now for the names of the black notes. As you have probably noticed, in most Western music the octave is divided into twelve parts--counting both white and black notes. This results in a dodecaphonic octave. We have, however, only seven different letter names for naming the various pitches. In order to name the remaining notes, we must resort to introducing another set of music symbols called accidentals. Accidentals include the following: usic in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? The Dodecaphonic Octave :PHYSSIZE A sharp raises the pitch of a note by one half step. Click the "up" and "down" buttons to move the sharped note on the staff, and watch the corresponding notes change on the keyboard. Notice that sharps can be white notes as well as black notes. hough many people have it (or claim to have it), rhythm is one of the most difficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Sharps :PHYSSIZE :PHYSSIZE Note Name BElef or Treble Cleff Press these buttons to move the note up and down the grand staff.. staff. :PHYSSIZE :PHYSSIZE :PHYSSIZE Ledger Line Note Down buttonUp buttonUp yNoteDown eDown Note Up buttonUp buttonUp G"NoteUp :PHYSSIZE hilight A flat lowers the pitch of a note by one half step. Click the "up" and "down" buttons to move the flatted note on the staff, and watch the corresponding notes change on the keyboard. Notice that flats can be white notes as well as black notes. Although many people have it (or claim to have it), rhythm is one of the most difficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Flatss :PHYSSIZE :PHYSSIZE Press these buttons to move the note up and down the grand staff.. staff. :PHYSSIZE :PHYSSIZE Note Name CElef or Treble Cleff Note Down buttonUp buttonUp yNoteDown eDown Note Up buttonUp buttonUp G"NoteUp Ledger Line :PHYSSIZE :PHYSSIZE hilight >g>gNf A double-sharp raises the pitch of a note by one whole step. Click the buttons to move the doubly-sharped note on the staff, and watch the corresponding notes change on the keyboard. Notice that double-sharps can be white notes as well as black notes. notes. e notes as well as black notes. most difficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Double Sharps :PHYSSIZE :PHYSSIZE Press these buttons to move the note up and down the grand staff.. staff. :PHYSSIZE :PHYSSIZE :PHYSSIZE Note Name AElef or Treble Cleff Note Down buttonUp buttonUp yNoteDown eDown Note Up buttonUp buttonUp G"NoteUp Ledger Line :PHYSSIZE hilight A double-flat lowers the pitch of a note by one whole step. Click the buttons to move the doubly-flatted note on the staff, and watch the corresponding notes change on the keyboard. Notice that double-flats can be white notes as well as black notes. notes. be white notes as well as black notes. ifficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Double Flats z :PHYSSIZE :PHYSSIZE Press these buttons to move the note up and down the grand staff.. staff. :PHYSSIZE :PHYSSIZE Note Down buttonUp buttonUp yNoteDown eDown Note Up buttonUp buttonUp G"NoteUp Ledger Line Note Name DElef or Treble Cleff :PHYSSIZE :PHYSSIZE hilight It is often necessary in music to cancel a sharp, flat, double-sharp, or double-flat in order to restore a note to its natural state. To restore a note to its natural state, you use a natural sign--naturally. Notice that naturals are always white notes. notes. on the staff, and watch the corresponding notes change on the keyboard. Notice that naturals are always white notes. erhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Naturals z :PHYSSIZE :PHYSSIZE Press these buttons to move the note up and down the grand staff.. staff. :PHYSSIZE :PHYSSIZE :PHYSSIZE Note Down buttonUp buttonUp yNoteDown eDown Note Up buttonUp buttonUp G"NoteUp Ledger Line Note Name CElef or Treble Cleff :PHYSSIZE hilight As discussed more fully a bit later, music is generally divided into equal segments of time called measures. Measures are typically bounded by barlines. The two basic rules for accidentals are these: (1) an accidental applies only to the notes which follow it and which are on the same line or space and (2) an accidental applies until it is canceled by another accidental or until it is canceled by a barline. Accidentals do not affect notes that come before them, nor do they affect notes of the same letter name on other lines or spaces. Consider the examples below. se movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Rules for Using Accidentals :PHYSSIZE :PHYSSIZE Notating lots of accidentals in a piece can be tiresome, particularly if the accidentals always apply to the same notes. For example, if you were to compose a piece in the key of B-flat major, you would probably flat most of the Bs and Es. To avoid having to write all those B-flats and E-flats, you can put a key signature at the beginning of the piece which tells the performer that all Bs and Es are normally flatted. In this particular example, there are two flats in the key signature: one on the B line and one on the E space. These flats indicate that all Bs and Es in the piece are normally flatted--regardless of the line or space on which they are placed. tes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Key Signatures :PHYSSIZE There are two basic rules for key signatures: (1) a sharp or flat in the key signature affects all notes on that staff by that letter name unless contradicted in the piece itself by an accidental, and (2) when an accidental contradicts the key signature, the rules for accidentals apply for that particular line or space until the end of the measure. Consider the example below. In this example, the key signature indicates that all Bs and all Es are normally flatted. Notice what happens when an accidental contradicts the key signature. click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Rules for Key Signatures :PHYSSIZE By tradition, key signatures are composed of either sharps or flats, not both. The sharps or flats which appear in the key signature are determined by the scale that the composer has chosen. Below are all seven key signatures which use flats (including the key signature of zero flats). Each is identified by the major and minor keys for which it is generally used. jor and minor keys for which it is generally used. lly used. between a G clef and an old-fashioned script G. To see how notes are identified in the treble clef, click the white keys on this keyboard. (The black notes are inactive.) lick the white keys on this keyboard. (The black notes are inactive.) ack notes are inactive.) stant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Standard Key Signatures for Flats\s :PHYSSIZE :PHYSSIZE In the 20th Century, master orchestrators like Ravel and Stravinsky continued to mine the timbral possibilities of the orchestra, utilizing more and more instrumental combina- tions and techniques. Today's composers instruct musi- cians to carry out all manners of non-traditional tech- niques, pushing the old fiddles and flutes of Bach, Beethoven, and Brahms to their sonic limits. For instance, a modern piece like George Crumb's Voice of the Whale has the pianist scraping strings with a chisel, the flutist sing- ing as he toots, and the cellist executing harmonic glissandos-- all to evoke the aquatic realm of the whale. Of course, with the ad- vent of electronically produced sound, the possibilities for new and previously undiscovered timbres are expanded even more. Sure, I like contemporary music. But sometimes I think these composers go a bit too far..it too far.. :PHYSSIZE With so many timbres coming from instruments old and new, we need new ears, new ways of comprehending and appreciating this burgeoning sonic soup. more instrumental combinations and techniques. Today s composers instruct musicians to carry out all manners of non-traditional techniques, pushing the old fiddles and flutes of Bach, Beethoven, and Brahms to their sonic limits. For instance, a modern piece like George Crumb s Voice of the Whale has the pianist scraping strings with a chisel, the flutist singing as he toots, and the cellist executing harmonic glissandos--all to evoke the aquatic realm of the whale. Of course, with the advent of electronically produced sound, the possibilities for new and previously undiscovered timbres are expanded even more. With so many timbres coming from instruments old and new, we need new ears, new ways of comprehending and appreciating this burgeoning sonic soup. Hmm... Sounds like split pea with ham and a touch of black pepper. :PHYSSIZE Perhaps we can learn something about listening to modern timbres from the modern composer, who exhibits a curiosity toward any wave that ripples through the air. Here are a few of the things that today's soundsmiths and musical alchemists are aware of as they listen, perform, and compose: Listen to the following piece with timbre in mind. And remember, a little ESP (Extra-Sonic Perception) can open up a whole new world! erb, delay, flanging, chorusing, etc.) are applied to a sound, either electronically, or as a result of natural acoustics. ---How timbre alone (apart from melody, rhythm, or harmony) affects the emotions of the listener. Listen to the following piece with timbre in mind. And remember, a little ESP (Extra-Sonic Perception) can open up a whole new world! The type of wave form(s) that comprise a sound. How the timbre and volume of a sound evolve over time. What kinds of special effects (reverb, delay, flanging, chorusing, etc.) are applied to a sound, either electronically, or as a result of natural acoustics. How timbre alone (apart from melody, rhythm, or harmony) affects the emotions of the listener. Listen to the following piece with timbre in mind. And remember, a little ESP (Extra-Sonic Perception) can open up a whole new world! lectronically, or as a result of natural acoustics. ---How timbre alone (apart from melody, rhythm, or harmony) affects the emotions of the listener. Listen to the following piece with timbre in mind. And remember, a little ESP (Extra-Sonic Perception) can open up a whole new world! buttonUp buttonUp modtim.mid Playing ShortName TargetID modtim.mid Playing ShortName TargetID This brave new world of timbral exploration has resulted in the creation of a new type of professional musician: the sound designer. In recording studios and movie soundstages all over the world, musicians are being asked to create without ever playing a note. Sound designers are frequently called upon to create new sounds and special effects to accompany the unique visual images dreamed up by today's filmmakers. With new technologies like sampling, resynthesis, and digital signal processing at their disposal, the sonic possibilities are truly limitless. As music technology becomes more sophisticated, sound designers are becoming recognized as important and legitimate artists in their own right. We are seeing timbre taking its place with melody, harmony, and rhythm as one of the primary elements of composition and musical experience. Several twentieth century composers have written pieces based only on timbral changes, and the new technology opens up vast new resources in this area..ppens next. next. Modern Texture buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session :PHYSSIZE So far, we've examined texture in terms of the various relationships between melody and harmony. But what if your music has no trad-itional melody or harmony? Composers like Gyorgy Ligeti and Krzysztof Penderecki constructed highly abstract orchestral works consisting of massed clusters of notes, or sound masses, that are manipulated, juxtaposed, and overlapped. Timbral contrasts and dynamic changes are very im- portant in this type of music, as the listener's attention focuses upon unusual sound qualities and the relationship of one sound shape to the next. Conducting these big masses of sound really wears you out!! out!! Modern Texture Since unusual amalgamations of sound are so vital in this kind of music, composers are often led to electronic sound synthesis. In this medium, the possibilities for new and unheard of sounds are limitless since the composer can control directly all aspects of the sound. Turn down the lights and check out the sonic landscape of this piece. And remember, don't go looking for traditional melodies and harmonies -- they just aren't there. Is this music, or sculpture in sound? buttonUp buttonUp modtex.mid Playing ShortName TargetID modtex.mid Playing ShortName TargetID Modern Form buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Some musicians rebelled against the dictatorial concoctions of composers attempting to impose mountains of musical minutae upon the orchestra. Were musicians created solely to satisfy the ego of the omniscient genius composer? Let us rise up, casting off the chains that bind us to endless pages of black dots! Composers like John Cage provide us with ideas that let us musically roam and wander by offering creative suggestions here and there in a friendly and unimposing way. Cage terms this brand of composition indeterminacy, referred to in other camps as aleatoric or chance music. :PHYSSIZE What will these young modern composers come up with next? Modern Form In indeterminate music the creative juices must flow from the performer well as the composer! Performers often have more control over the outcome than the composer. So let's re-create an indeterminate work right now. We'll call it "Mentormood #30." Follow the performance instructions on the next page. Listen carefully as the piece takes shape. Remember, there are as many ways to perform this piece as there are performers. As you listen, think about how you might interpret some of these instructions if you were to perform the piece yourself. yourself. 1. Rumble your fingers over the lowest keys, repeatedly playing all notes between the lowest C and F#. 2. Play gradually louder, with a feeling of ominous foreboding. 3. Continue rumbling in your left hand until instructed to stop. 4. Gather all your energy and strike and hold a cluster of notes in the high range. End the rumbling. 5. When all sound dies, strike again... 6. and again... 7. and again. 8. Create a motive that sounds like hopping pigeons and play it in various registers and at dynamic levels from very soft to very loud. 9. Make your pigeons hop more frantically. 10. You re on your own now. End when and how your please. 5. When all sound dies, strike again... 6. and again... 7. and again. 8. Create a motive that sounds like hopping pigeons and play it in various registers and at dynamic levels from very soft to very loud. 9. Make your pigeons hop more frantically. 10. You're on your own now. End when and how you please. ons hop more frantically. 10. You're on your own now. End when and how you please. ake your pigeons hop more frantically. 10. You're on your own now. End when and how you please. rs and at dynamic levels from very soft to very loud. 9. Make your pigeons hop more frantically. 10. You re on your own now. End when and how your please. Mentormood #30 buttonUp buttonUp mentmd.mid Playing ShortName TargetID mentmd.mid Playing ShortName TargetID Reading Basics :PHYSSIZE buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen To Session buttonUp buttonUp ToSession ession To Session From the earliest forms of music notation to the avant garde compositions of the 20th century, our system of music notation has been in a state of continual development. In fact, there are so many diverse systems of music notation currently in use that com-posers frequently preface their music with instructions for interpreting what they have written. Despite this notational diversity, we are fortunate that the vast majority of musical works published in the Western world today share the same elements of notation and can be read in the same way. elody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Music Notation: An Evolving System :PHYSSIZE Musical notes are generally rendered as ovals, squares, or some other geometric shape. Ovals are the most common. After centuries of evolution, the notation of pitch has become standardized on a staff comprised of five lines with spaces in between. Notes with a high pitch are placed high on the staff. Notes with a low pitch are placed low on the staff. When necessary, the five-line staff can be extended with ledger lines in order to accommodate extra high and low notes. n order to accommodate extra high and low notes. lody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? The Notation of Pitch :PHYSSIZE :PHYSSIZE :PHYSSIZE X :PHYSSIZE :PHYSSIZE Modern Melody buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session By 1910 or so, many composers had grown tired of the shapely melodies of the Romantics. And besides, all the pretty ones appeared to be taken. So they ventured outside of tonality, the favorite hangout of the beautiful, and into atonality, where beauty is more than skin deep. These modern day melodies can be harsh and jagged and, to some ears, downright ugly. Yet many listeners find these melodies challenging, invigorating, and in some ways more profound than the traditional tonal tunes of the past. If they think I'm going to sing melodies like these, they better think again. After all, I have my reputation to consider. :PHYSSIZE buttonUp buttonUp schoen.mid Playing ShortName TargetID schoen.mid Playing ShortName TargetID Austrian composer Arnold Schoenberg wrote melodies in which no one note was more important than any other note. This insured that no single note or key would be established too firmly in the listener's ear. Although it has become common to use the term atonality to describe the lack of a tonal center in this type of music, Schoenberg actually preferred the term pantonality -- inclusive of all tones. nality--inclusive of all tones. What use do we have for such strangeness? Schoenberg believed and wrote that familiarity with atonal melody breeds acceptance, and that listeners over the years would come to appreciate and even love these melodies. After all, the new is always misunderstood. In many ways Schoenberg's predictions came true -- his melodies certainly don't provoke the sort of controversy today that they did when he first wrote them. On the other hand, much of the music written since Schoenberg has generated other controversies. Some of this music was eventually accepted, some of it hasn't been accepted (at least not yet). kjsdhfkkese issues are just as alive today. Rock guitarists love atonality. A screaming guitar solo that veers away from tonality and into the world of atonality can really grab you. The theory here is that atonal melody works fine as long as the "out" notes lead you to and land on the "in" notes. This is atonal melody used within a tonal setting. Bet you never thought of your favorite heavy metal guitarist as the perfect union of early 20th Century experimentation and Classical tradition! buttonUp buttonUp rocker.mid Playing ShortName TargetID rocker.mid Playing ShortName TargetID Modern Rhythm buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Igor Stravinsky was a composer who couldn't sit still on one meter for more than a few bars. One of his favorite tricks was to constantly vary, within a passage, the number of beats per measure (the top number in a time signature) and the note value assigned to the beat (the bottom number in a time signature.) Musicians who played his music tore out their hair (and a few score pages) over the fiendishly difficult meter changes he wrote into his scores. And imagine the poor listeners, falling out of their chairs just trying to tap their toes to the beat! ike to switch from 2/4 time to 3/8, back to 2/4, then 5/8, and so on? Give a listen, but don t worry about putting on your dancing shows. Oh no, it's that Stravinsky guy again. Why can't he just write in 4/4 and 3/4 like everybody else? Who does he think he's trying to impress anyway? :PHYSSIZE buttonUp buttonUp sacre.mid Playing ShortName TargetID sacre.mid Playing ShortName TargetID enterPage Interval enterPage unis.mid unis.mid min2nd.mid min2nd.mid maj2nd.mid maj2nd.mid min3rd.mid min3rd.mid maj3rd.mid maj3rd.mid p4th.mid p4th.mid aug4th.mid aug4th.mid p5th.mid p5th.mid min6th.mid min6th.mid maj6th.mid maj6th.mid min7th.mid min7th.mid maj7th.mid maj7th.mid p8va.mid p8va.mid RadioButtonName Interval unis.mid min2nd.mid min2nd maj2nd.mid maj2nd min3rd.mid min3rd maj3rd.mid maj3rd p4th.mid aug4th.mid aug4th p5th.mid min6th.mid min6th maj6th.mid maj6th min7th.mid min7th maj7th.mid maj7th p8va.mid LastNote Perhaps the most far-reaching rhythmic revolution of this century involves the swing feel, a way of interpreting rhythm that was introduced by early Blues musicians. Much contemporary pop and jazz depends on this approach to rhythm, which is perhaps best appreciated when absent. Listen to a typical Hip Hop tune without the swing factor: Now let's put the "Hip" back in our "Hop" with a little swing. Can you dig it? In swing the even eighth notes of a "square" melody are converted into a triplet feel. Also, important notes on strong beats are often anticipated--played a moment before the beat. The swing feel has become so established and understood that most composers write their swung rhythms as even eighth notes, making them easier to notate and to read. h makes it easier to notate and to read. buttonUp buttonUp swing.mid swing.mid Playing ShortName TargetID swing.mid swing.mid Playing ShortName TargetID buttonUp buttonUp strait.mid strait.mid Playing ShortName TargetID b< F strait.mid strait.mid Playing ShortName TargetID NoteUp enterPage NoteDown NoteFunctions enterPage Counter TargetName NoteUp Ledger Line Ledger Line 'bNoteFunctions NoteDown Ledger Line Ledger Line 'bNoteFunctions NoteFunctions Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Counter TargetName Modern Harmony buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session By the 20th Century, composers were running out of new fashions in which to dress up the old I-IV-V. It seemed that Wagner and com- pany had exhausted the resources of tonality. So French music student Claude Debussy struck out for new territory and in the process sent his pro- fessors into a tizzy with harmonies that refused to jump through the old tonic-dominant hoops. Debussy took standard chords and led them unpredictably to other harmonies in ways that blurred the listener's sense of key or tonal center. His harmonies were so fuzzy and indistinct that listeners often used the term Impressionism from French painting when describing his music. What exactly was he doing that so upset his mentors? :PHYSSIZE Sorry Claude, I used up all the good chords in my last couple of operas. How do you feel about leftovers?ll have to fend for yourselves.. Here's an A7sus4 (suspended 4th) chord treated in the grand old tonic-dominant tradition: The idea behind this time-honored tradition is that the 4th of the A7 chord (the D note) is perilously suspended above the 3rd, begging to be resolved so that we can get on with the business of moving the dominant chord (A7) home to the tonic (D). To this old hat harmony Monsieur Claude said... buttonUp buttonUp sus4a.mid Playing ShortName TargetID sus4a.mid Playing ShortName TargetID :PHYSSIZE buttonUp buttonUp sus4b.mid Playing ShortName TargetID sus4b.mid Playing ShortName TargetID Debussy's chords went to places they weren't supposed to go (they also stayed up past their bedtime, but that's another story). He embraced the uncertainty of new and challenging harmonies (like suspended 4th chords), and declared them free to move about in parallel motion, producing a dreamy and non-directional sound. His hidebound tutors were aghast and wanted to suspend Claude as well as his unruly 7th chords! But his classmates and the world were fascinated by this new harmonic approach. We call this non-functional harmony today (his professors called it dysfunctional harmony), because the chords no longer function in their traditional tonic, sub-dominant, and dominant roles. "I want revolution, not resolution!"" Or you could play a melody in one key and transpose its harmony to a different key.erent key. Modern day composers often use harmony to express the ambivalence, alienation, angst, guilt, existentialism, and psychological entropy that makes life in the 20th century so delightful. How might the harmonizer evoke the conflicted contours of the contemporary psyche? One way is through bitonality, the simultaneous use of two keys.....Is this schizophrenia set to music or a model of peaceful inner-co-existence? xistence? Is this schizophrenia set to music or a model of peaceful inner-co-existence? Bitonality Is this schizophrenia set to music or a model of peaceful inner co-existence? For example, you could play a melody in two keys at the same time. a different key...ent key. buttonUp buttonUp bitone.mid bitone.mid Playing ShortName TargetID bitone.mid bitone.mid Playing ShortName TargetID buttonUp buttonUp petru.mid petru.mid Playing ShortName TargetID petru.mid petru.mid Playing ShortName TargetID Modern Timbre buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Romantic musicians were always suffering angst about something: a lost love, the meaning of life, or whether their next musical catharsis would finally break the Top Ten. They had difficulty controlling the ebb and flow of their emotions. Their volatile passions are expressed musically by ever-surging and slacking tempos that can be described with words like accelerando (speeding up), ritardando (slowing down), and rubato (the giving and taking of time.) These temporal techniques represent impulse, hesitation, or that suspended moment of time on the edge of the cliff before our artist-hero plunges headlong into his emotional abyss of the week........ :PHYSSIZE Here is Chopin's Prelude in E minor played in "straight" time and with rubato (changes in tempo).h liberal doses of rubato.) In the immortal words of romantic poet Hermann Von Sapp: "Your time ain't worth dirt if you can t make it hurt."""""""" Straight Time With Rubatoee :PHYSSIZE buttonUp buttonUp chop1.mid chop1.mid Playing ShortName TargetID chop1.mid chop1.mid Playing ShortName TargetID buttonUp buttonUp chop2.mid chop2.mid Playing ShortName TargetID chop2.mid chop2.mid Playing ShortName TargetID Romantic Harmony buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Add pain and suffering to your music with hearty doses of chromaticism. Romantic composers expressed the anguish in their souls with liberal splashes of notes outside the 7-note diatonic scales. These chromatic notes add emotional spice to the musical entree -- composers of the late Romantic era were not afraid of a little tang in their sauce. :PHYSSIZE What do ya say, boys? A few more sharps and flats and we'll have'em cryin' in their beer! Here's some typically Wagnerian chromaticism. Listen closely and you'll hear all 12 notes of the chromatic scale in these seven measures. about a little chicken with your paprika? Tristan and Isolde never did resolve all their problems, so I figured why should I try to do it for them? :PHYSSIZE buttonUp buttonUp tristn.mid Playing ShortName TargetID tristn.mid Playing ShortName TargetID Romantic Timbre buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Romantic composers were often not well-adjusted. They provided us with two artistic stereotypes that still exist today. two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will....hem certainly will....e better may his genius, which poureth forth in great torrents, be glorified. Type B: The Misunderstood Sensitive Soul. This fellow's artistry is so subtle and deep that only his closest intimates may possibly understand him. He cowers in the parlors of his moodmates, sharing tender, miniaturized arrangements with them only. The very thought of commanding the orchestral forces of the Creator/Promethan sends shivers through his frail and sickly frame. Thus we have two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will.............................. :PHYSSIZE Type A: The Creator/Promethean The only proper vessel for this composer's inspired and earth-shaking revelations is an orchestra of hundreds of pliant and devoted musicians. The bigger the orchestra, the better the expression of his genius. his genius. h in great torrents, be glorified. ified. : The Misunderstood Sensitive Soul. This fellow's artistry is so subtle and deep that only his closest intimates may possibly understand him. He cowers in the parlors of his moodmates, sharing tender, miniaturized arrangements with them only. The very thought of commanding the orchestral forces of the Creator/Promethan sends shivers through his frail and sickly frame. Thus we have two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will....etter and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will.............................. :PHYSSIZE Type B: The Misunderstood Sensitive Soul This fellow's artistry is so subtle and deep that only his closest intimates may possibly understand him. He cowers in the parlors of his moodmates, sharing tender, miniaturized arrangements with them only. The very thought of commanding the orchestral forces of the Creator/Promethean sends shivers through his frail and sickly frame.d deep that only his closest intimates may possibly understand him. He cowers in the parlors of his moodmates, sharing tender, miniaturized arrangements with them only. The very thought of commanding the orchestral forces of the Creator/Promethan sends shivers through his frail and sickly frame. Thus we have two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will....etter and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will.............................. Thus we have two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will.....autiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will....hem certainly will....e better may his genius, which poureth forth in great torrents, be glorified. Type B: The Misunderstood Sensitive Soul. This fellow's artistry is so subtle and deep that only his closest intimates may possibly understand him. He cowers in the parlors of his moodmates, sharing tender, miniaturized arrangements with them only. The very thought of commanding the orchestral forces of the Creator/Promethan sends shivers through his frail and sickly frame. Thus we have two typically Romantic approaches to arrangement and timbre: Bigger is Better and Small is Beautiful. So remember, if your melodies do not reflect your soul, the way you arrange them certainly will.............................. The Creator/Promethean (a la Wagner))) The Sensitive Soul (a la Chopin) use Op. 10 #3 The Sensitive Soul (a la Chopin)gner) The Sensitive Soul (a la Chopin) use Op. 10 #3 :PHYSSIZE :PHYSSIZE buttonUp buttonUp rtimb2.mid rtimb2.mid Playing ShortName TargetID rtimb2.mid rtimb2.mid Playing ShortName TargetID buttonUp buttonUp rtimb1.mid rtimb1.mid Playing ShortName TargetID rtimb1.mid rtimb1.mid Playing ShortName TargetID Romantic Texture buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session So what texture will you dress your tune up in? Romantic composers had several hundred years of textural traditions to draw upon, so they paraded their musical ideas in all manners of garb. Their skillful handling of the monophonic, polyphonic, and homophonic styles fueled the creation of ever more lengthy and developed symphonies. Instrumental virtuo- sos (read: professional show-offs) like Paganini and Liszt drew from this rich textural tradition to develop the first aerobic workouts...for hands only......... :PHYSSIZE This is the theme of Franz Liszt's Paganini Study No. 6 in A Minor. It is homophonic, with one obvious melody and a simple chordal accompaniment. The study is in theme and variation form, and includes 11 variations of the theme. Let's try a few textures from this musical haberdashery on for size......... :PHYSSIZE buttonUp buttonUp liszt1.mid Playing ShortName TargetID liszt1.mid Playing ShortName TargetID buttonUp buttonUp liszt6.mid liszt6.mid Playing ShortName TargetID liszt6.mid liszt6.mid Playing ShortName TargetID buttonUp buttonUp liszt5.mid liszt5.mid Playing ShortName TargetID liszt5.mid liszt5.mid Playing ShortName TargetID buttonUp buttonUp liszt4.mid liszt4.mid Playing ShortName TargetID liszt4.mid liszt4.mid Playing ShortName TargetID buttonUp buttonUp liszt3.mid liszt3.mid Playing ShortName TargetID liszt3.mid liszt3.mid Playing ShortName TargetID buttonUp buttonUp liszt2.mid liszt2.mid Playing ShortName TargetID liszt2.mid liszt2.mid Playing ShortName TargetID Variation 1 Homophonic, with melody on the bottom and mostly descending arpeggios on top. Variation 3 Still homophonic, melody in octaves on top. The accompaniment is getting a bit uppity. Variation 5 Melody and harmony put in blender and pureed. What happened to the melody? It's in the bass wearing shades while harmony steals the show. Variation 6 Who's in charge here? Octave and harmonized melody with a rocketing-scale accompaniment equals polyphony. Variation 7 Borderline monophony. Octave melody with brief chord interjections. Harmony wins in the end......... Variation 3 Still homophonic, melody in octaves on top. The accompaniment is getting a bit uppity. Variation 5 Melody and harmony put in blender and pureed. What happened to the melody? It's in the bass wearing shades while harmony steals the show. s the show. ent is getting a bit uppity. Variation 5 Melody and harmony put in blender and pureed. What happened to the melody? It's in the bass wearing shades while harmony steals the show. Variation 6 Who's in charge here? Octave and harmonized melody with a rocketing-scale accompaniment equals polyphony. Variation 7 Borderline monophony. Octave melody with brief chord interjections. Harmony wins in the end......... Variation 6 Who's in charge here? Octave and harmonized melody with a rocketing-scale accompaniment equals polyphony. nic, melody in octaves on top. The accompaniment is getting a bit uppity. Variation 5 Melody and harmony put in blender and pureed. What happened to the melody? It's in the bass wearing shades while harmony steals the show. Variation 6 Who's in charge here? Octave and harmonized melody with a rocketing-scale accompaniment equals polyphony. Variation 7 Borderline monophony. Octave melody with brief chord interjections. Harmony wins in the end........./ Variation 7 Borderline monophony. Octave melody with brief chord interjections. Harmony wins in the end. polyphony. nic, melody in octaves on top. The accompaniment is getting a bit uppity. Variation 5 Melody and harmony put in blender and pureed. What happened to the melody? It's in the bass wearing shades while harmony steals the show. Variation 6 Who's in charge here? Octave and harmonized melody with a rocketing-scale accompaniment equals polyphony. Variation 7 Borderline monophony. Octave melody with brief chord interjections. Harmony wins in the end......... Romantic Form buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Romantics produced one-of-a-kind forms that resulted from the telling of specific stories through music. This is program music, intended to depict in musical terms all sorts of non-musical subjects. The story itself determines what happens in the score, so program music often does not strictly follow standard musical forms. Obviously, it helps to know the plot. Romantic composers were inspired programmatically by just about everything under the sun, from dreams of a witches sabbath to the philosophy of Nietzsche. No rondos or minuets to be found here, unless they show up in the story. Hmm... I think I'll use this chord for the scene where the King of the Wood Nymphs finds the Golden Olive Branch and transforms his forest brethren into immortal beings after turning the evil Sorcerer of Gehnt into a small rodent... :PHYSSIZE R'|!`%n# -0.0.P (&3|<|<|<|<|<W Nymphs in the night. oldau. broad and mighty Moldau. Nymphs in the night. The hunt. A wedding party..... the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Nymphs in the night. buttonUp buttonUp Guess TargetName Guess TargetName Guess The hunt. A wedding party. broad and mighty Moldau. Nymphs in the night. The hunt. A wedding party..... the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ The hunt. buttonUp buttonUp Guess TargetName Guess TargetName Guess A wedding celebration.Moldau. A wedding celebration. buttonUp buttonUp Guess TargetName Guess TargetName Guess The broad and mighty Moldau. broad and mighty Moldau. Nymphs in the night. The hunt. A wedding party..... the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ The broad and mighty Moldau. buttonUp buttonUp Guess TargetName Guess TargetName Guess Two streams converging. The broad and mighty Moldau. Nymphs in the night. The hunt. A wedding party..... the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Two streams converging. buttonUp buttonUp Guess TargetName Guess TargetName Guess Bedrich Smetana's programmatic ode to the Moldau river is a gold mine of musical imagery. Here are a few of the scenes he paints. See if you can match the excerpts with their correct descriptions:ct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Keep score & check the next page for your programmatic IQ.s in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Listen to a theme by pressing the appropriate "Play" button. Then, while the theme is playing, press the "Guess" button next to the scene you think that theme describes. Theme #1 Theme #2 Theme #3 Theme #4 Theme #555555555party.ty.dding party. A wedding party. wedding party.k the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Theme #2 Theme #3 Theme #4 Theme #5 Theme #555555555party.ty.dding party. A wedding party. wedding party.k the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Theme #3 Theme #4 Theme #5 Theme #4 Theme #555555555party.ty.dding party. A wedding party. wedding party.k the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Theme #4 Theme #5 Theme #3 Theme #4 Theme #555555555party.ty.dding party. A wedding party. wedding party.k the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ Theme #5 Theme #2 Theme #3 Theme #4 Theme #555555555party.ty.dding party. A wedding party. wedding party.k the next page for your programmatic IQ.match the excerpts with their correct descriptions: two streams converging the broad and mighty Moldau nymphs in the night the hunt a wedding party Keep score & check the next page for your programmatic IQ............ buttonUp buttonUp mold5.mid mold5.mid Playing ShortName TargetID mold5.mid mold5.mid Playing ShortName TargetID buttonUp buttonUp mold2.mid mold2.mid Playing ShortName TargetID mold2.mid mold2.mid Playing ShortName TargetID buttonUp buttonUp mold4.mid mold4.mid Playing ShortName TargetID mold4.mid mold4.mid Playing ShortName TargetID buttonUp buttonUp mold3.mid mold3.mid Playing ShortName TargetID mold3.mid mold3.mid Playing ShortName TargetID buttonUp buttonUp mold1.mid mold1.mid Playing ShortName TargetID mold1.mid mold1.mid Playing ShortName TargetID Score Your Scoree 5 correct You are a direct descendent of Hector Berlioz (father of all program music composers). 4 correct You might consider becoming a movie composer. 3 correct You might consider becoming a movie viewer. 2 correct You might consider becoming a movie producer. 1 or less correct You might consider taking this quiz again................is quiz again......... What's Your Programmatic IQ? Hector Berlioz Father of All Program Music Composers (and a little bored by the whole thing!) :PHYSSIZE Most composers of the last few centuries have organized musical time by establishing a regular series of underlying pulses known as beats. Typically these pulses are grouped into regular patterns of stressed and unstressed beats. The resulting pattern of stressed and unstressed beats is known as meter. Meters in music can be described by the following terms: duple (strong/weak), triple (strong/weak/weak), or quadruple (strong/weak/medium strong/weak). sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Organizing Musical Time Triple Meterr Duple Meter Quadruple Meter buttonUp buttonUp rhy04c.mid rhy04c.mid Playing ShortName TargetID rhy04c.mid rhy04c.mid Playing ShortName TargetID 40?^i buttonUp buttonUp rhy04b.mid rhy04b.mid Playing ShortName TargetID rhy04b.mid rhy04b.mid Playing ShortName TargetID 4"I^h buttonUp buttonUp rhy04a.mid rhy04a.mid Playing ShortName TargetID rhy04a.mid rhy04a.mid Playing ShortName TargetID Pieces which have a regular underlying pattern of pulses are said to be metric. Pieces which have no regularly recurring pattern of strong and weak beats are ametric. Most--but by no means all--of Western music of the last several centuries has been metric. y not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Metric and Ametric Music? Metric Music Ametric Music buttonUp buttonUp rhy05a.mid rhy05a.mid Playing ShortName TargetID rhy05a.mid rhy05a.mid Playing ShortName TargetID buttonUp buttonUp chant1.mid chant1.mid Playing ShortName TargetID chant1.mid chant1.mid Playing ShortName TargetID enterPage Example enterPage rhy06a.mid rhy06a.mid rhy06b.mid rhy06b.mid rhy06c.mid rhy06c.mid RadioButtonName Example rhy06a.mid Duple Meter rhy06b.mid Triple Meter rhy06c.mid Quadruple Meter rhy06b.mid rhy06b.mid rhy06c.mid rhy06c.mid RadioButtonName Example rhy06a.mid Duple Meter rhy06b.mid Triple Meter rhy06c.mid Quadruple Meter In a metric composition, the underlying pattern of stressed and unstressed beats may be more or less obvious. As you might expect, the beats in a rock song will probably be more obvious than the beats in a work by an impressionist composer like Claude Debussy. In a metric composition, it is not necessary for a performer to accent the stressed pulses in order for the listener to be aware of the meter. A composer can create the sense of meter by the logical organization of the pitches and harmonies used in the piece. Listen to the following examples which are played without deliberate accent. The underlying meter will be clear in each case. r in each case. below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Metric Composition? buttonUp buttonUp 9Example RadioButtonName Playing buttonUp 9Example RadioButtonName Playing rhy06a.mid Duple Meter rhy06b.mid Triple Meter rhy06c.mid Quadruple Meter buttonUp buttonUp Playing ShortName TargetID RadioButtonName Playing ShortName TargetID RadioButtonName Triple Meter Triple Meter :PHYSSIZE Quadruple Meter Quadruple Meter :PHYSSIZE Duple Meter Duple Meter :PHYSSIZE In metric composition, the stresses or accents of the individual notes may sometimes contradict the meter. But the meter is there, nonetheless, providing temporal organization for the listener. The following example by Scott Joplin illustrates one way in which the underlying presence of the meter can be established and yet contradicted by some of the notes themselves. In this excerpt from "The Entertainer," the notes for the left hand (bottom staff) establish the meter. The bass notes create the feeling of stressed pulses and the chords create the feeling of unstressed pulses. The notes in the right hand (top staff) which are marked with arrows are stressed by the perform- er. The placement of the stressed notes in the right hand often contra- dicts the underlying meter estab- lished by the left hand. This creates the characteristic feature of ragtime known as syncopation. on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Syncopation :PHYSSIZE buttonUp buttonUp rhy07a.mid Playing ShortName TargetID rhy07a.mid Playing ShortName TargetID The metric organization of beats is obviously very important in most Western music composed during the last several centuries. Equally important is the rhythmic division of beats. Notes in a piece do not have to coincide with the beat. Notes may be shorter than the beat itself and may be placed between beats. Notes placed between the beats create divisions of the beat. What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Simple Time :PHYSSIZE buttonUp buttonUp rhy08a.mid Playing ShortName TargetID rhy08a.mid Playing ShortName TargetID Simple note values naturally divide into two equal parts. Dotted or compound note values naturally divide into three equal parts. When there is a consistent division of the beat into two equal parts, the meter is known as simple meter. When there is a consistent division of the beat into three equal parts, the meter is known as compound meter. lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Simple and Compound Time :PHYSSIZE The consistent division of the beat in a duple meter into two equal parts is known as duple-simple time. This is demonstrated in the following well-known example: relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Duple-Simple Time buttonUp buttonUp rhy10a.mid Playing ShortName TargetID rhy10a.mid Playing ShortName TargetID V :PHYSSIZE :PHYSSIZE The consistent division of the beat in a triple meter into three equal parts is known as triple-simple time. ck out this well-known example: ccession but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Triple-Simple Timee buttonUp buttonUp rhy11a.mid Playing ShortName TargetID rhy11a.mid Playing ShortName TargetID :PHYSSIZE The consistent division of the beat in a quadruple meter into two equal parts is known as quadruple-simple time. ck out this well-known example: ion but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Quadruple-Simple Timeeeee buttonUp buttonUp rhy12a.mid Playing ShortName TargetID rhy12a.mid Playing ShortName TargetID :PHYSSIZE The consistent division of the beat in a duple meter into three equal parts is known as duple-compound time. k out this well-known example: ccession but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Duple-Compound Time buttonUp buttonUp rhy13a.mid Playing ShortName TargetID rhy13a.mid Playing ShortName TargetID :PHYSSIZE The consistent division of the beat in a triple meter into three equal parts is known as triple-compound time. ck out this well-known example: ccession but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Triple-Compound Time buttonUp buttonUp rhy14a.mid Playing ShortName TargetID rhy14a.mid Playing ShortName TargetID :PHYSSIZE The consistent division of the beat in a quadruple meter into three equal parts is known as quadruple-compound time. heck out this well-known example: but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious! For that matter, music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Quadruple-Compound Time buttonUp buttonUp rhy15a.mid Playing ShortName TargetID rhy15a.mid Playing ShortName TargetID :PHYSSIZE :PHYSSIZE Duple, triple, and quadruple meters are the most common meters. Theoretically, a metric pattern could contain any number of pulses. However, people may have difficulty understanding more than four. When meters greater than quadruple are used, they frequently are the result of the combination of two shorter metrical patterns. Quintuple meter, for example, might result from duple meter combined with triple meter or triple meter combined with duple meter. you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Unusual Meters buttonUp buttonUp rhy16b.mid rhy16b.mid Playing ShortName TargetID rhy16b.mid rhy16b.mid Playing ShortName TargetID buttonUp buttonUp rhy16a.mid rhy16a.mid Playing ShortName TargetID rhy16a.mid rhy16a.mid Playing ShortName TargetID The first beat of a measure is called a downbeat. Conductors usually indicate downbeats with a downward motion of the baton. In metric music, the downbeat of each measure assumes a greater feeling of underlying stress than the other beats. The last notes of a measure (which come, naturally, just before the first beat of the next measure) are called upbeats. Conductors usually indicate upbeats with an upward motion of the baton. A phrase of music can begin with either an upbeat or a downbeat. Which has a lighter feeling? Which sounds more rigid? y emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Upbeats and Downbeats Upbeat Example Brahms' Lullaby Downbeat Example Schubert's March Militaire buttonUp buttonUp rhy17b.mid rhy17b.mid Playing ShortName TargetID rhy17b.mid rhy17b.mid Playing ShortName TargetID buttonUp buttonUp rhy17a.mid rhy17a.mid Playing ShortName TargetID rhy17a.mid rhy17a.mid Playing ShortName TargetID Just as there are no absolute rules for composing melodies, there are no absolute rules for creating rhythms either. But here are some things to think about. Whether you're composing, performing, or just listening to a piece of music, thinking about these issues will provide you with a greater appreciation of how the music is working rhythmically. ourself. tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Things to Think About Do the rhythms of the piece fit naturally within the chosen meter? the tonic), or do some phrases conclude, in a more question-ing fashion, on other notes of the scale? :PHYSSIZE :PHYSSIZE :PHYSSIZE Is the music metric or ametric? or atonal? m What type of meter (duple, triple, quadruple, or other) does it use? What type of metrical subdivision (simple or compound) does it use? does it use? :PHYSSIZE Does the music use the same meter throughout or does it change meters? note to the next adjacent note in the scale either above or below), or does your melody emphasize leaps to distant notes?y :PHYSSIZE :PHYSSIZE Does the music use syncopation? or atonal? t as there are no absolute rules for composing melodies, there are no absolute rules for creating rhythms either. But here are some things to think about. Whether you're composing, performing, or just listening to a piece of music, thinking about these issues will provide you with a greater appreciation of how the music is working rhythmically. ourself. tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Other Issuesto Considerr Do the rhythms of the piece coincide with the natural inflection of the lyrics? e phrases conclude, in a more question-ing fashion, on other notes of the scale? :PHYSSIZE :PHYSSIZE :PHYSSIZE Do the phrases of the music start with upbeats or downbeats? Do the phrases end on strong or weak beats??e, or other) does it use? Does the music re-use the same short rhythmic patterns, or does it use new rhythms for each phrase? :PHYSSIZE Do the principle harmony changes coincide with the strong beats? :PHYSSIZE :PHYSSIZE buttonUp buttonUp hrm12b.mid hrm12b.mid Playing ShortName TargetID hrm12b.mid hrm12b.mid Playing ShortName TargetID buttonUp buttonUp hrm12a.mid hrm12a.mid Playing ShortName TargetID hrm12a.mid hrm12a.mid Playing ShortName TargetID So far, we have always shown chords with the root as the lowest note and two or more thirds stacked on top. Although that is the simplest way to show the construction of a chord, the various tones in a chord may actually appear in any order. Try mixing up the tones of a C major chord, and you may end up with results like the chords shown here. Mixing up the tones in a chord is easy. The real challenge is looking at a chord in which the tones have been scrambled and figuring out what the root of the chord is. To figure out the root of a chord, try writing down the name of every note in the chord, and then re-arrange the names of the notes according to the chord alphabet: C-E-G-B-D-F-A-C-etc. to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Re-ordering the Notes in Chords :PHYSSIZE buttonUp buttonUp hrm13a.mid Playing ShortName TargetID hrm13a.mid Playing ShortName TargetID When we look at harmony here in the comfort of Music Mentor's theoretical environment, all our chords stack up nicely and neatly. But out in the real world, things frequently get a bit more complicated. Quite often, composers will add notes that might seem redundant because they are already present in a chord in a different octave: These "extra" notes are called doublings because they duplicate or double other notes in the chord. No matter how many doublings you see, the name of the chord doesn't change. You may see extra Cs, Es, and/or Gs in a C major chord but that doesn't change the fact that it's still C major. In case you were wondering, composers don't just double or re-order the notes in chords in random ways. The art of doubling and re-ordering is called chord voicing. Of all the issues in harmony, chord voicing is probably the most complex. If you would like to learn about chord voicing, a good jazz theory book is probably the best place to start. completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Doublings 8 :PHYSSIZE enterPage Example enterPage hrm14a.mid hrm14a.mid hrm14b.mid hrm14b.mid hrm14c.mid hrm14c.mid hrm14d.mid hrm14d.mid RadioButtonName Example hrm14a.mid Root Position Chords hrm14b.mid 1st Inversion Chords hrm14c.mid 2nd Inversion Chords hrm14d.mid 3rd Inversion Chords b.mid hrm14c.mid hrm14c.mid hrm14d.mid hrm14d.mid RadioButtonName Example hrm14a.mid Root Position Chords hrm14b.mid 1st Inversion Chords hrm14c.mid 2nd Inversion Chords hrm14d.mid 3rd Inversion Chords When the root of a chord is the lowest note, the chord is said to be in root position. If any other note of the chord (e.g. 3rd, 5th, or 7th) is the lowest note, the chord is said to be in an inversion. When the third of the chord is the lowest note, the chord is in first inversion. When the fifth of the chord is the lowest note, the chord is in second inversion. When the seventh of the chord is the lowest note, the chord is in third inversion. Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Inverting Chords buttonUp buttonUp 9Example RadioButtonName Playing buttonUp 9Example RadioButtonName Playing hrm14a.mid Root Position Chords hrm14b.mid 1st Inversion Chords hrm14c.mid 2nd Inversion Chords hrm14d.mid 3rd Inversion Chords buttonUp buttonUp Playing ShortName TargetID RadioButtonName Playing ShortName TargetID RadioButtonName 3rd Inversion Chords 3rd Inversion Chords :PHYSSIZE 2nd Inversion Chords 2nd Inversion Chords :PHYSSIZE 1st Inversion Chords 1st Inversion Chords :PHYSSIZE Root Position Chords :PHYSSIZE enterPage Example enterPage hrm15a.mid hrm15a.mid hrm15b.mid hrm15b.mid hrm15c.mid hrm15c.mid hrm15d.mid hrm15d.mid RadioButtonName Example hrm15a.mid Major Scale hrm15b.mid Harmonic Minor Scale hrm15c.mid Natural Minor Scale hrm15d.mid Melodic Minor Scale hrm15b.mid hrm15c.mid hrm15c.mid hrm15d.mid hrm15d.mid RadioButtonName Example hrm15a.mid Major Scale hrm15b.mid Harmonic Minor Scale hrm15c.mid Natural Minor Scale hrm15d.mid Melodic Minor Scale You can construct a chord on any note of a scale. When triads are labeled according to their function in music, they are often identified by the degree of the scale on which they are built. Thanks to the 18th century music theorist and composer, Jean-Philippe Rameau, Roman numerals are now often used to name the degree of the scale. A capital Roman numeral represents a major triad, and a capital Roman numeral with a plus sign (+) represents an augmented triad. A lower case Roman numeral represents a minor triad, and a lower case Roman numeral with a small zero sign (o) represents a diminished triad. Rameau's Roman numeral system is a great way to think about harmony because it is not key-specific. A "V" chord is a "V" chord no matter what key you are in. This helps us understand not only how chords are built but also how they function in a piece of music. The function of a chord is determined by its relation to other chords in the same piece. phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Identifying Chords with Roman Numerals buttonUp buttonUp 9Example RadioButtonName Playing buttonUp 9Example RadioButtonName Playing hrm15a.mid Major Scale hrm15b.mid Harmonic Minor Scale hrm15d.mid Melodic Minor Scale hrm15c.mid Natural Minor Scale buttonUp buttonUp Playing ShortName TargetID RadioButtonName Playing ShortName TargetID RadioButtonName Melodic Minor Scale :PHYSSIZE Natural Minor Scale :PHYSSIZE Harmonic Minor Scale :PHYSSIZE Major Scale :PHYSSIZE buttonUp buttonUp hrm16b.mid hrm16b.mid Playing ShortName TargetID hrm16b.mid hrm16b.mid Playing ShortName TargetID buttonUp buttonUp hrm16a.mid hrm16a.mid Playing ShortName TargetID hrm16a.mid hrm16a.mid Playing ShortName TargetID There are as many ways to use chords in music as there are composers. If you plan to compose tonal music and stick mostly to major and minor keys, your music will likely center around the chord built on the first degree of the scale (a.k.a the tonic). This chord is often represented with the capital Roman numeral "I" in a major key and lower case Roman numeral "i" in a minor key. Two other extremely useful chords are the chords built on the fourth and fifth degrees, known as the subdominant and dominant, respectively. In a major key they may be represented as "IV" and "V"; in a minor key they may be represented as "iv" and "V" (or occasionally "v"). Another commonly used chord is "V7", the so-called dominant seventh chord built on the fifth degree of the scale. keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Using Basic Chords :PHYSSIZE If you were to take a survey of all Western music written between 1600 and the present time, you would probably find that the most popular chords are "I", "V", and "IV", in that order. The popularity of "I", "IV", and "V" (or "i", "iv", and "v") lies in two facts: (1) the roots of the "IV" and "V" chords are a perfect fifth below and above the tonic, respectively, and (2) the "I", "IV", and "V" chords contain every note of the major (or minor) scale. u sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? The Importance of I, IV, and V :PHYSSIZE :PHYSSIZE buttonUp buttonUp hrm17a.mid Playing ShortName TargetID hrm17a.mid Playing ShortName TargetID buttonUp buttonUp hrm18a.mid Playing ShortName TargetID hrm18a.mid Playing ShortName TargetID Try harmonizing your favorite folk tune with just "I", "IV", "V", and "V7". See if you don't agree that these chords provide the essential basis for successful harmonization of simple tonal music. sical works that one might typically perform in the shower. amatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Using the Primary Chords to Harmonize Simple Music X :PHYSSIZE "No chord is an island unto itself." While that might not make good poetry, it does say something important about chords and harmony. Like a great team of athletes, chords really come alive when they work together as a group. A group of chords that work together is called a chord progression. Creating a chord progression is a matter of deciding which chord comes next. While we can't teach you everything there is to know about this process here, we can explain some of the basic principles of creating chord progressions. ther notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Chord Progressionss Every progression has to start somewhere and that somewhere is almost always the tonic chord or "I" chord in whatever key you are working in. In a major key, the tonic chord has a major quality. In a minor key, the tonic has a minor quality. You usually won't find any augmented or diminished tonic chords. Here are some examples of possible tonic chords: Chord progressions usually end on tonic chords as well. So, you can pretty much count on ending with the same chord you start out with. ale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Tonic Chords :PHYSSIZE :PHYSSIZE Major Key Tonic Chords\\\ Minor Key Tonic Chords\\\ buttonUp buttonUp hrm20b.mid hrm20b.mid Playing ShortName TargetID hrm20b.mid hrm20b.mid Playing ShortName TargetID buttonUp buttonUp hrm20a.mid hrm20a.mid Playing ShortName TargetID hrm20a.mid hrm20a.mid Playing ShortName TargetID buttonUp buttonUp hrm21a.mid Playing ShortName TargetID hrm21a.mid Playing ShortName TargetID OK, you've got a tonic chord at the beginning and one at the end, does this mean you've got a chord progression? No, you've got a BLT without the bacon, lettuce, and tomato. With good chord progressions, like good sandwiches, it's what's in the middle that counts. A common technique for creating a good progression is to start at the end and work your way back. If you've got a tonic chord at the end, the best thing to put in front of it is a dominant chord or a "V" chord. V chords go to I chords like swallows return to Capistrano. There's just something about a V chord that makes going to I seem like the right thing to do. Here are some examples of dominant chords: or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Dominant Chords 8 :PHYSSIZE It may not land you on the Billboard charts, but if you've got a I chord followed by a V chord followed by another I chord you've got yourself a chord progression. I-V-I can be seen as the foundation of almost all progressions. But what about all those other chords out there? One way to look at other chords in the context of chord progressions is to think about them as moving to or preparing for a dominant chord in the same way that a dominant chord works with a tonic chord. The best chords to use when you want to move to a dominant chord are minor 7th chords. In fact, a great deal of jazz and popular music can be reduced to a progression like this: ii-V-I. In the key of C, that would be Dm-G-C. Here are some ii-V-I progressions: es each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Other Chordsrds :PHYSSIZE When you're listening to music, you may sometimes think to yourself: "That piece uses some very nice chords." What you are probably reacting to is not the individual chords themselves, but the chord progressions. Chords have an intangible emotional quality that has more to do with how they work in relation to one another than how they stack up on their own. The best way to learn about what works and what doesn't is to study the chords in pieces of music that interest you. Look at the progressions that other people use. Take the chord changes from a popular song that you like and write your own melody. Take a melody that you like and harmonize it with different chord changes. There are no right or wrong ways to harmonize something. It's mostly a matter of style and personal preference. scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? One Last Thing leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing In a hit song of 1930, George Gershwin announced to the world that he had it. What is "it"? Rhythm, of course. Although many people have it (or claim to have it), rhythm is one of the most difficult musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. t musical terms to define. It refers to the temporal dimension of music. Perhaps it is best described as the flow of music in time. sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? What is Rhythm?? :PHYSSIZE Music is an art form which unfolds in time. It consists of sounds and silences which have been organized by a composer and/or performers. It is defined by the relative locations and durations of the notes and rests in a piece. Can you recognize this piece by its rhythm alone? music may not always soothe the savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? What Defines Rhythm? :PHYSSIZE buttonUp buttonUp rhy02a.mid rhy02a.mid Playing ShortName TargetID rhy02a.mid rhy02a.mid Playing ShortName TargetID buttonUp buttonUp rhy02b.mid rhy02b.mid Playing ShortName TargetID rhy02b.mid rhy02b.mid Playing ShortName TargetID Rhythm is generally considered to be one of the three basic compositional parameters of music. The other two are melody and harmony. The relative importance of each of these parameters varies from piece to piece. Listen to each of the following pieces. Which relies more heavily on rhythm to communicate its message? savage beast! lly? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? The Relative Importance of Rhythm buttonUp buttonUp milead.mid milead.mid Playing ShortName TargetID milead.mid milead.mid Playing ShortName TargetID buttonUp buttonUp rhy03a.mid rhy03a.mid Playing ShortName TargetID rhy03a.mid rhy03a.mid Playing ShortName TargetID Composers have always used the theme and variations form, but Classical composers were especially fond of it. State your theme and then find several more ways to say it, over and over. You can add countermelodies, embellish or transform the theme, alter the harmony, move to a new key -- whatever you like. Classical composers often used the theme and variation format in the second as well as in the final movements of their sonatas and symphonies. Here's an example from the second movement of Franz Joseph Haydn's "Surprise" Symphony.e" Symphony. have always used the theme and variations form, but Classical composers were especially fond of it. :PHYSSIZE This is great! All I have to do is come up with a little theme and the whole symphony practically writes itself. I'll bet if I put my mind to it, I could write a hundred of these things.ings..ngs... these things.. buttonUp buttonUp hydnf1.mid Playing ShortName TargetID hydnf1.mid Playing ShortName TargetID Classical Form Modern Rhythm Variation 4 Grandiose accompaniment for the grand finale.. and a new countermelody. Variation 4: Grandiose accompaniment for the finale. sixteenth notes, and a new countermelody. Variation 4: Grandiose accompaniment for the finale..dy. Variation 4: Grandiose accompaniment for the finale. Variation 3 New instrumentation, theme in sixteenth notes, and a new countermelody. :PHYSSIZE It's good to keep your theme simple so you can spiff it up later. Variation 1 Counter-melody added. Variation 2: Minor key and other modulations. Variation 3: New instrumentation, theme in sixteenth notes, and a new countermelody. Variation 4: Grandiose accompaniment for the finale.e finale..dy. Variation 4: Grandiose accompaniment for the finale. Variation 2 Minor key and other modulations.. Variation 3: New instrumentation, theme in sixteenth notes, and a new countermelody. Variation 4: Grandiose accompaniment for the finale. Grandiose accompaniment for the finale.e finale..dy. Variation 4: Grandiose accompaniment for the finale. :PHYSSIZE buttonUp buttonUp hydnf2.mid hydnf2.mid Playing ShortName TargetID hydnf2.mid hydnf2.mid Playing ShortName TargetID buttonUp buttonUp hydnf3.mid hydnf3.mid Playing ShortName TargetID hydnf3.mid hydnf3.mid Playing ShortName TargetID buttonUp buttonUp hydnf4.mid hydnf4.mid Playing ShortName TargetID hydnf4.mid hydnf4.mid Playing ShortName TargetID buttonUp buttonUp hydnf5.mid hydnf5.mid Playing ShortName TargetID hydnf5.mid hydnf5.mid Playing ShortName TargetID Texture Basics buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session History Buttons Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern What does music have in common with textiles? The answer is texture. Although you may not think of music in terms of rough, smooth, bumpy, or prickly, all music has some sort of texture. Texture is the fabric of music woven by the various melodic and accompaniment lines of which it is comprised. In general, you could say that there are three basic types of texture in music: monophonic, homophonic, and polyphonic. There may also be gradations of texture between these three types for which we have no specific name. Of course, a single piece may make use of all three types of texture. is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? What is Texture in Music? Texture Basics Traditional chords in western music are based upon the interval of a third. You can stack thirds on top of each other to create both simple and rather extended chords. onic texture is any of the musical works that one might typically perform in the shower. amatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Creating Chords by Stacking Thirds :PHYSSIZE buttonUp buttonUp hrm05a.mid Playing ShortName TargetID hrm05a.mid Playing ShortName TargetID Monophonic texture is the simplest texture in music. Any piece of music comprised of a single, unaccompanied melodic line has a monophonic texture. A good example of monophonic texture is any of the musical works that one might typically perform in the shower. amatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Monophonic Texture :PHYSSIZE buttonUp buttonUp mono.mid Playing ShortName TargetID mono.mid Playing ShortName TargetID :PHYSSIZE Homophonic texture consists of a single melodic line with an accompaniment. The accompaniment may consist of block chords, broken chords, or any pattern of notes which does not constitute a competing melody. in which you handle these issues will have a dramatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Homophonic Texture buttonUp buttonUp homo.mid Playing ShortName TargetID homo.mid Playing ShortName TargetID :PHYSSIZE Polyphonic texture (a.k.a. counterpoint) is a texture in which there are two or more melodies being performed simultane-ously. Complex polyphonic textures, favored especially by composers of the Baroque era, can be especially difficult to compose. have a dramatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Polyphonic Texture buttonUp buttonUp poly.mid Playing ShortName TargetID poly.mid Playing ShortName TargetID The simplest chord is the three-note chord called a triad. It is constructed by placing two successive thirds on top of a foundation note known as the root of the triad. The other two notes are known as the third and the fifth of the chord, respectively. In short, a triad is composed of a root, a third, and a fifth. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Triads :PHYSSIZE There are four different triad types which result from different combinations of major and minor thirds. Each triad has a different quality, and that quality is referred to as major, minor, augmented, or diminished. Both the major and minor triads contain a perfect fifth between the root and the fifth of the chord. The augmented triad contains an augmented fifth. A diminished triad contains a diminished fifth. ifth. :PHYSSIZE buttonUp buttonUp hrm07d.mid hrm07d.mid Playing ShortName TargetID hrm07d.mid hrm07d.mid Playing ShortName TargetID buttonUp buttonUp hrm07c.mid hrm07c.mid Playing ShortName TargetID hrm07c.mid hrm07c.mid Playing ShortName TargetID buttonUp buttonUp hrm07b.mid hrm07b.mid Playing ShortName TargetID hrm07b.mid hrm07b.mid Playing ShortName TargetID buttonUp buttonUp hrm07a.mid hrm07a.mid Playing ShortName TargetID hrm07a.mid hrm07a.mid Playing ShortName TargetID Four Types of Triads buttonUp buttonUp hrm08c.mid hrm08c.mid Playing ShortName TargetID hrm08c.mid hrm08c.mid Playing ShortName TargetID buttonUp buttonUp hrm08b.mid hrm08b.mid Playing ShortName TargetID hrm08b.mid hrm08b.mid Playing ShortName TargetID buttonUp buttonUp hrm08a.mid hrm08a.mid Playing ShortName TargetID hrm08a.mid hrm08a.mid Playing ShortName TargetID Now that we've talked about basic triads, let's move one rung up harmony's evolutionary ladder and talk about 7th chords. Take a major or minor triad, add a major or minor 7th to it, and you've got a 7th chord on your hands. Here are the types of 7th chords you'll see and use most often: t you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Basic 7th Chords :PHYSSIZE Major 7th Chord Minor 7th Chordd Dominant 7th Chordd buttonUp buttonUp hrm09a.mid hrm09a.mid Playing ShortName TargetID hrm09a.mid hrm09a.mid Playing ShortName TargetID buttonUp buttonUp hrm09b.mid hrm09b.mid Playing ShortName TargetID hrm09b.mid hrm09b.mid Playing ShortName TargetID In addition to major, minor, and dominant 7th chords, you'll also encounter diminished 7th chords. Diminished 7th chords are easy to identify and construct because they are made up completely of minor thirds. Diminished chords have a very distinctive sound. They're the chords you always hear in silent movies when the bad guy has tied the hero's girlfriend to the train tracks. u will probably also run across a half diminished 7th chord from time to time. A half diminished 7th chord is a diminished 7th chord with a top note that's a halfstep higher. stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Diminished 7th Chords Diminished 7th Chordd :PHYSSIZE You will probably also run across a half diminished 7th chord from time to time. A half diminished 7th chord is just like a diminished 7th chord except that the top note is a half step higher. Half diminished chords are always suffering from an identity crisis. Many people refer to them as minor seventh chords with flatted fifths.tied the hero's girlfriend to the train tracks. You will probably also run across a half diminished 7th chord from time to time. A half diminished 7th chord is a diminished 7th chord with a top note that's a halfstep higher. stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Half Diminished 7th Chords :PHYSSIZE Half Diminished 7th Chordd buttonUp buttonUp hrm10a.mid Playing ShortName TargetID hrm10a.mid Playing ShortName TargetID As you've seen so far, chords are constructed by piling up major and minor thirds. So how high can you go? Add a third above a 7th and get a 9th; add a third above a 9th and get an 11th, add a third above an 11th and get a 13th. These additional notes above the 7th are generally referred to as extensions. Go ahead, pile up those thirds higher than Jack's beanstalk, but once you're past a 13th you're not adding any new scale degrees to your chord. 15ths, 17ths, and 19ths might sound good in theory, but most folks think of these higher extensions as doublings of lower notes already present in the chord. It's extremely rare to see a chord labeled with an extension higher than 13. lody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Beyond 7th Chords: Extensions 8 :PHYSSIZE buttonUp buttonUp hrm11a.mid Playing ShortName TargetID hrm11a.mid Playing ShortName TargetID Any good tailor will tell you that if you want something to fit just right you'll need to have a few alterations made. And just like tailors, composers are always working to make their harmonies fit their melodies as well as they can. So, when a 9th, 11th, or 13th chord just doesn't fit quite right, composers take out their sonic scissors and make alterations. Alterations are made by raising or lowering notes in a chord by half steps. Here are some examples: In general, alterations give chords a richer and more complex sound. Extensive alterations show up most frequently in jazz but these same complex sonorities have existed in music since the time of Bach and can be found in rock and pop music as well. distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Alterations 8 :PHYSSIZE Ever wonder how your favorite speed metal band "Metalikon" determines the sequential ordering of tunes on their recordings? Their producer, Viv Slash, has a highly developed sense of rhythmic pacing and makes sure that, for instance, all the slow ballads don't appear together, and that the final cut is upbeat (so you'll want to hear it again, of course). Viv learned everything he knows from the multi-movement sonatas of that old longhair Franz Joseph Haydn. The Classical sonata is a four movement paradigm of rhythmic variety and pacing............. :PHYSSIZE I taught Viv Slash everything he knows. But did he even think to thank me at the Grammy's?! 1st Movement Upbeat and snappy. Designed to get the audience's attention. 2nd Movement Slow. Time for a break after the aerobics of the first movement. 3rd Movement A bit faster than the last one and in 3/4 time. After two movements, folks get tired of counting to four every measure. 4th Movement Fast and snappy. Anyone who's into it will enjoy a triumphant finale, and anyone who's bored will be glad that it's almost over. first movement. 3rd Movement: A bit faster than the last one and in 3/4 time. After two movements, folks get tired of counting to four every measure. 4th Movement: Fast and snappy. Anyone who's into it will enjoy a triumphant finale, and anyone who's bored will be glad that it's almost over...ner. :PHYSSIZE :PHYSSIZE :PHYSSIZE :PHYSSIZE buttonUp buttonUp hydnr1.mid hydnr1.mid Playing ShortName TargetID hydnr1.mid hydnr1.mid Playing ShortName TargetID buttonUp buttonUp hydnr2.mid hydnr2.mid Playing ShortName TargetID hydnr2.mid hydnr2.mid Playing ShortName TargetID buttonUp buttonUp hydnr3.mid hydnr3.mid Playing ShortName TargetID hydnr3.mid hydnr3.mid Playing ShortName TargetID buttonUp buttonUp hydnr4.mid hydnr4.mid Playing ShortName TargetID hydnr4.mid hydnr4.mid Playing ShortName TargetID Classical Harmony buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session V chord come home! There's something about a V chord (also called the dominant chord) that makes us homesick for the I chord (or tonic.) Once a key is firmly established in the mind of a listener, the V chord can become a point of heightened tension and stress, making us yearn for the familiarity and security of the tonic chord. You can think of an extended V chord passage as a musical cliffhanger. These extended V chord passages always get me so stressed out! :PHYSSIZE Here is the cadenza (an extended passage where the soloist gets to show off alone) from Mozart's Piano Concerto No. 9. Bet you can't listen to it without pressing the Play button on the next page....t feel good? If you didn't feel an overwhelming desire to press the "resolve" button you're probably also the kind of person who could eat just one potato chip. Just as the folks from Frito Lay have always known about the seductive quality of snack foods, great composers have long been aware of the power of the dominant chord and our psychological dependency on its resolution to the tonic. Classical composers often made room in their concertos for these extended and improvised cadenzas on the dominant chord, leaving their refined audiences squirming in want of the tonic.........ming in want of the tonic.. Resolve! Resolve! Resolve! buttonUp buttonUp cadenz.mid Playing ShortName TargetID cadenz.mid Playing ShortName TargetID :PHYSSIZE Resolve! Now didn't that feel good? If you didn't feel an overwhelming desire to press the "Play" button you're probably also the kind of person who could eat just one potato chip. Just as the folks who make potato chips have always known about the seductive quality of snack foods, great composers have long been aware of the power of the dominant chord and our psychological dependency on its resolution to the tonic. Classical composers often made room in their concertos for these extended and improvised cadenzas on the dominant chord, leaving their refined audiences squirming in want of the tonic.nic.Classical composers often made room in their concertos for these extended and improvised cadenzas on the dominant chord, leaving their refined audiences squirming in want of the tonic.........ming in want of the tonic.. Ahhhhh... That's much better. buttonUp buttonUp resolv.mid Playing ShortName TargetID resolv.mid Playing ShortName TargetID :PHYSSIZE Classical Timbre buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Do your sequenced arrangements sound as mur- ky as the Mississippi delta? How do you utilize the vast timbral resources of electronic music without all those sounds tripping over each other? Solutions to this age old dilemma were developed in the burg of Mannheim, Germany back in the mid 1700s, where the modern symphony developed. As composers there, and in Vienna, beefed up their orchestras toward the size and variety that we know today, it was important to understand the timbres and registers that were unique to each instrument, and compose accord- ingly. Let's dig into the Mannheim sound by building from the ground up a symphony by Mannheim School founder Johann Stamitz...... :PHYSSIZE Now that we're covered in the low register, we'll fill in the middle with violas... ...and 2 horns. it with 2 bassoons: Now that we're covered in the low register, we'll fill in the middle with violas... ...and 2 horns. First, let's get down low with a theme in the string basses: Now let's beef up the bass by doubling it with 2 bassoons: Now that we're covered in the low register, we'll fill in the middle with violas... ...and 2 horns. :PHYSSIZE Now let's beef up the bass by doubling it with 2 bassoons: Now that we're covered in the low register, we'll fill in the middle with violas... ...and 2 horns. ster, we'll fill in the middle with violas... ...and 2 horns. :PHYSSIZE :PHYSSIZE ~ :PHYSSIZE Building a Classical Orchestraaaaa The Low Register The Middle Register buttonUp buttonUp stam1.mid stam1.mid Playing ShortName TargetID stam1.mid stam1.mid Playing ShortName TargetID buttonUp buttonUp stam2.mid stam2.mid Playing ShortName TargetID stam2.mid stam2.mid Playing ShortName TargetID buttonUp buttonUp stam4.mid stam4.mid Playing ShortName TargetID stam4.mid stam4.mid Playing ShortName TargetID buttonUp buttonUp stam3.mid stam3.mid Playing ShortName TargetID stam3.mid stam3.mid Playing ShortName TargetID Our Mannheim orchestra also has 2 flutes in the high register, but Stamitz is saving those for later. Here's what comes next:ter, but Stamitz is saving those for later. Here's what comes next:: Here are the violins and 2 oboes: ing it with 2 bassoons: Now that we're covered in the low register, we'll fill in the middle with violas... ...and 2 horns. ster, we'll fill in the middle with violas... ...and 2 horns. :PHYSSIZE :PHYSSIZE " :PHYSSIZE Building a Classical Orchestra cont. The High Register buttonUp buttonUp stam5.mid stam5.mid Playing ShortName TargetID stam5.mid stam5.mid Playing ShortName TargetID buttonUp buttonUp stam6.mid stam6.mid Playing ShortName TargetID stam6.mid stam6.mid Playing ShortName TargetID Stamitz and his cronies established two instrumental subgroups within the orchestra, each one with instruments designed to cover the low, middle or high registers. First, the generic lushness of strings, with bass and cellos, violas and violins. Second, the coloristic winds, with bassoons, horns and oboes and flutes. Composers have found it handy over the ages to compose with the stringed instruments as their core sound, adding the various wind instruments to emphasize juicy passages and provide contrasts. And they always have a member of both groups at their disposal, regardless of register. Now you know what to do with all of those synth patches!those synth patches!!!!!!!!!!!!! :PHYSSIZE Think of It This Way Classical Texture buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session The numerous sons of Bach thought of their dad as being a bit old-fashioned, absorbed as he was in the overworked intricacies of polyphony. Sure, they gave him presents on Father's Day, but in their souls they yearned for a kind of elegance and clarity not found in the music of their famous father. They were after the simplicity of melody and chords without competition from other elements like thoroughbass and counterpoint. So J.C., C.P.E, W.F. and others promoted homophony -- single prevailing melody with supporting harmony.......... :PHYSSIZE Hey, you with the polyphony. Knock it off over there! Classical types just love the simplicity of melody and chords without competing elements like thoroughbass and counterpoint. Here's a keyboard sonata by Johann Sebastian's son J. C. Bach: Big deal, right? J. C. probably knew he wouldn't top the charts with this melody, so he dressed it up with arpeggios: chords played note by note. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" buttonUp buttonUp jcbac1.mid jcbac1.mid Playing ShortName TargetID jcbac1.mid jcbac1.mid Playing ShortName TargetID buttonUp buttonUp jcbac2.mid jcbac2.mid Playing ShortName TargetID jcbac2.mid jcbac2.mid Playing ShortName TargetID "Aaaaahhh! That good old homophonic sound. So elegant, so refined, so... classic!""""""" :PHYSSIZE There, that's better. As long as the accompanying harmony does not compete with that lone, all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. :PHYSSIZE buttonUp buttonUp jcbac3.mid Playing ShortName TargetID jcbac3.mid Playing ShortName TargetID :PHYSSIZE Hey, Wolfgang! What do you think of polyphony? rmony does not compete with that lone, all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. I'm not dead set against it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Classical Form buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session As different as the last three melodies were, they had a crucial similarity: they all had a yearning to end on the same note--C. Try playing those examples again without the final note and see if that doesn't frustrate you just a little. Tonality in Melody :PHYSSIZE :PHYSSIZE :PHYSSIZE buttonUp buttonUp mel07a.mid mel07a.mid Playing ShortName TargetID mel07a.mid mel07a.mid Playing ShortName TargetID buttonUp buttonUp mel07b.mid mel07b.mid Playing ShortName TargetID mel07b.mid mel07b.mid Playing ShortName TargetID buttonUp buttonUp mel07c.mid mel07c.mid Playing ShortName TargetID mel07c.mid mel07c.mid Playing ShortName TargetID Clearly the note C is the only note which makes the previous three examples sound finished. Melodies such as these are said to be tonal because they gravitate toward one particular tone, the keynote or tonic (first note) of the scale. This tonal effect is created, in part, by the choice of the scale. Some scales lend themselves more readily to tonal composition than others. Two types of scales which are strongly tonal and which have formed the compositional basis for most of Western music since the time of J. S. Bach are the major and the minor scales. Not all music is tonal. Atonal music lacks this sense of a tonal center. If you leave the final note off this following example, you probably will not feel as deprived as you did with the previous examples. If you try ending this melody with various other notes, you will probably find that no single note can lay claim to being the tonal center. g the tonal center. Tonality and Atonality :PHYSSIZE buttonUp buttonUp mel08.mid Playing ShortName TargetID mel08.mid Playing ShortName TargetID The ascending and descending portions of the melodic minor scale are different. Composers tend to use the ascending portion of this scale when their melodies are ascending. When their melodies are descend-ing, they most frequently use the descending portion of this scale (which is the same as the natural minor) or switch to the harmonic minor scale. ale. Minor Scales :PHYSSIZE :PHYSSIZE :PHYSSIZE There are three basic types of minor scales. Composers often switch freely between these three types within the same piece. Note that the ascending and descending portions of the melodic minor scale are different. Composers tend to use the ascending portion of this scale when their melodies are ascending. When their melodies are descending, they most frequently use the descending portion of this scale (which is the same as the natural minor) or switch to the harmonic minor scale. X :PHYSSIZE buttonUp buttonUp mel09a.mid mel09a.mid Playing ShortName TargetID mel09a.mid mel09a.mid Playing ShortName TargetID buttonUp buttonUp mel09b.mid mel09b.mid Playing ShortName TargetID mel09b.mid mel09b.mid Playing ShortName TargetID buttonUp buttonUp mel09c.mid mel09c.mid Playing ShortName TargetID mel09c.mid mel09c.mid Playing ShortName TargetID bBl@v> .h2$6 HQHQ :PHYSSIZE Here are some other eight-note scales to try. These scales are often called modal scales. The complete set of modal scales also includes the major scale (a.k.a. the ionian scale) and the natural minor scale (a.k.a. the aeolian scale). Other Scales :PHYSSIZE :PHYSSIZE :PHYSSIZE :PHYSSIZE Dorian Scale against it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. buttonUp buttonUp twinlo.mid twinlo.mid Playing ShortName TargetID twinlo.mid twinlo.mid Playing ShortName TargetID buttonUp buttonUp twinmi.mid twinmi.mid Playing ShortName TargetID twinmi.mid twinmi.mid Playing ShortName TargetID buttonUp buttonUp twinly.mid twinly.mid Playing ShortName TargetID twinly.mid twinly.mid Playing ShortName TargetID buttonUp buttonUp twinph.mid twinph.mid Playing ShortName TargetID twinph.mid twinph.mid Playing ShortName TargetID buttonUp buttonUp twindo.mid twindo.mid Playing ShortName TargetID twindo.mid twindo.mid Playing ShortName TargetID Dorian "Twinkle" inst it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Phrygian Scale gainst it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Phrygian "Twinkle" st it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Lydian Scale against it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Lydian "Twinkle" inst it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Mixolydian Scale inst it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Mixolydian "Twinkle" it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Locrian Scale against it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. Locrian "Twinkle" nst it by any means. uppose it's OK for the occasional fugue. all-important melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. 6:PHYSSIZE Gee, I wish I had thought to use some of these modal scales! ith hundreds of variations. tant melody for your interest, we have homophonic, as opposed to polyphonic texture. This is not to say that classical composers were dead set against polyphony by any means. Let's listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. "Aaaaahhh! That good ol' homophonic sound. So elegant, so refined, so... classic!" st polyphony by any means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. means. Let s listen a bit more to see if our texture remains true. After all, texture can and does change within a given piece. You be the judge. the judge. buttonUp buttonUp mel10e.mid mel10e.mid Playing ShortName TargetID mel10e.mid mel10e.mid Playing ShortName TargetID buttonUp buttonUp mel10d.mid mel10d.mid Playing ShortName TargetID mel10d.mid mel10d.mid Playing ShortName TargetID buttonUp buttonUp mel10c.mid mel10c.mid Playing ShortName TargetID mel10c.mid mel10c.mid Playing ShortName TargetID buttonUp buttonUp mel10b.mid mel10b.mid Playing ShortName TargetID mel10b.mid mel10b.mid Playing ShortName TargetID buttonUp buttonUp mel10a.mid mel10a.mid Playing ShortName TargetID mel10a.mid mel10a.mid Playing ShortName TargetID Scales composed of five different pitches are called pentatonic scales. Scales such as these are frequently found in folk tunes. Pentatonic Scales :PHYSSIZE :PHYSSIZE :PHYSSIZE :PHYSSIZE :PHYSSIZE buttonUp buttonUp mel11d.mid mel11d.mid Playing ShortName TargetID mel11d.mid mel11d.mid Playing ShortName TargetID buttonUp buttonUp mel11b.mid mel11b.mid Playing ShortName TargetID mel11b.mid mel11b.mid Playing ShortName TargetID buttonUp buttonUp mel11e.mid mel11e.mid Playing ShortName TargetID mel11e.mid mel11e.mid Playing ShortName TargetID buttonUp buttonUp mel11c.mid mel11c.mid Playing ShortName TargetID mel11c.mid mel11c.mid Playing ShortName TargetID buttonUp buttonUp mel11a.mid mel11a.mid Playing ShortName TargetID mel11a.mid mel11a.mid Playing ShortName TargetID :PHYSSIZE :PHYSSIZE If you want to compose music which has no tonal center, it can be helpful to use a scale that has no tonal center. Do either of these scales gravitate to a particular note? Careful use of either of these scales can give a melody an atonal effect. Atonal Scales :PHYSSIZE $0^# buttonUp buttonUp mel12b.mid mel12b.mid Playing ShortName TargetID mel12b.mid mel12b.mid Playing ShortName TargetID buttonUp buttonUp mel12a.mid mel12a.mid Playing ShortName TargetID mel12a.mid mel12a.mid Playing ShortName TargetID Main Screen Background *(*N* :PHYSSIZE :PHYSSIZE *:PHYSSIZE L+:PHYSSIZE +:PHYSSIZE T,:PHYSSIZE ,:PHYSSIZE To quit, choose Exit from the File menu..he File menu.romt omt he File\ To explore Music Mentor, click one of the buttons on this panel and then click one of the buttons that pops up alongside..long side. that pops up along side.ggggg /:PHYSSIZE #'6^' buttonUp buttonUp mel14b.mid mel14b.mid Playing ShortName TargetID mel14b.mid mel14b.mid Playing ShortName TargetID buttonUp buttonUp mel14a.mid mel14a.mid Playing ShortName TargetID mel14a.mid mel14a.mid Playing ShortName TargetID Yet another way that a composer can achieve a sense of unity in a melody is by creating a melody which suggests familiar chords or chord progressions. Take a look at the opening measures of The Star Spangled Banner. Note how the first six notes outline a B-flat major chord. :PHYSSIZE :PHYSSIZE Harmony in Melody Below is an excerpt from Solfeggietto by Johann Sebastian Bach's famous son Carl Philipp Emanuel Bach. Two chords are alternately suggested by the notes of this running melody: C minor and G7 (a.k.a. the tonic and dominant seventh chords in the key of C minor). Harmony in Melody continued :PHYSSIZE :PHYSSIZE $6.^) buttonUp buttonUp mel15b.mid mel15b.mid Playing ShortName TargetID mel15b.mid mel15b.mid Playing ShortName TargetID $)M^( buttonUp buttonUp mel15a.mid mel15a.mid Playing ShortName TargetID mel15a.mid mel15a.mid Playing ShortName TargetID There are no absolute rules for composing melodies. (Sorry to disappoint you!) However, it is possible to create rules or guide-lines for writing particular types of melodies. Here are some issues to consider. The way in which you handle these issues will have a dramatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Putting It All Together Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more question-ing fashion, on other notes of the scale? :PHYSSIZE :PHYSSIZE :PHYSSIZE Do you intend to compose tonally or atonally? # What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? :PHYSSIZE Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does your melody emphasize leaps to distant notes?? :PHYSSIZE Here are a few more ideas to think about. Remember, just as there are no right or wrong melodies, there are also no right or wrong ways to write them..cular types of melodies. Here are some issues to consider. The way in which you handle these issues will have a dramatic effect on the melodies that you compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? A Few More Ideas R@~ ( t :PHYSSIZE :PHYSSIZE :PHYSSIZE Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns?? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Harmony Basics buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern History Buttons Classical composers rebelled against the run-on melodic sentences of their Baroque predecessors which, in their opinion at least, confused the poor listener with a glut of overwrought and meandering finery that never seemed to arrive anywhere, offending the Classical sense of proportion, balance, and enlightened rationality with a convoluted, ever-modulating mysticism that only the educated elite could understand, much less enjoy. What did they prefer instead? For one thing, the two-part simplicity of antecedent-consequent, or question-answer melody.............. Don't you dare question me in that tone! :PHYSSIZE :PHYSSIZE Pick one question and one answer, then listen to the result. And remember, just like on your favorite game show, some answers may work better than others (and the judge's decision is final!)..... Question #1 Answer #111 Question #2 Question #3 Answer #211 Answer #311 o e"N :PHYSSIZE :PHYSSIZE :PHYSSIZE ~ :PHYSSIZE :PHYSSIZE buttonUp buttonUp melq1.mid melq1.mid Playing ShortName TargetID melq1.mid melq1.mid Playing ShortName TargetID buttonUp buttonUp melq2.mid melq2.mid Playing ShortName TargetID melq2.mid melq2.mid Playing ShortName TargetID buttonUp buttonUp melq3.mid melq3.mid Playing ShortName TargetID melq3.mid melq3.mid Playing ShortName TargetID buttonUp buttonUp mela1.mid mela1.mid Playing ShortName TargetID mela1.mid mela1.mid Playing ShortName TargetID buttonUp buttonUp mela2.mid mela2.mid Playing ShortName TargetID mela2.mid mela2.mid Playing ShortName TargetID buttonUp buttonUp mela3.mid mela3.mid Playing ShortName TargetID mela3.mid mela3.mid Playing ShortName TargetID %0!0!0! The increasing popularity of opera in the 1700s was part of a new interest in simple, singable melody. Opera consumers, not your basic educated eggheads, weren't as interested in the old "learned style" of the Baroque masters. Like many of our modern politicians, the aristocracy of the day enjoyed aping the masses and acting real folksy. Here's a famous and singable melody from Mozart's opera "The Magic Flute" that everyone got a hoot out of. Do you detect any antecedent-consequentness in this melody????????????? Do you detect any "antecedent-consequentness" in this melody? :PHYSSIZE buttonUp buttonUp mflute.mid Playing ShortName TargetID mflute.mid Playing ShortName TargetID Classical Rhythm buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Romantic Melody buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Rhythm Basics buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session History Buttons Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern You can use intervals to measure the musical distance between two notes. Start by counting the lines and spaces from the first note to the second note. (Be sure to count the line or space of both the first and second note). By counting the lines and spaces, you can identify the numeric distance of the interval. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Measuring Musical Distance with Intervals buttonUp buttonUp o7rInterval RadioButtonName Playing buttonUp o7rInterval RadioButtonName Playing Unis.mid Unison maj2nd.mid maj3rd.mid p4th.mid p5th.mid maj6th.mid maj7th.mid p8va.mid Octave :PHYSSIZE buttonUp buttonUp Playing ShortName TargetID RadioButtonName Playing ShortName TargetID RadioButtonName :PHYSSIZE :PHYSSIZE maj3rd :PHYSSIZE maj6th :PHYSSIZE :PHYSSIZE maj7th :PHYSSIZE maj2nd :PHYSSIZE :PHYSSIZE "0"l Counting the lines and spaces from one note to another does not yield a precise measurement of musical distance, as measured on the keyboard in half steps. For this reason, we must add qualifying terms to the numerical representation of an interval. These qualifying terms are: major, minor, perfect, augmented, and diminished. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? :PHYSSIZE :PHYSSIZE Measuring Musical Distance Preciselyrvals buttonUp buttonUp o7rInterval RadioButtonName Playing buttonUp o7rInterval RadioButtonName Playing unis.mid Perfect Unison min2nd.mid Minor 2nd maj2nd.mid Major 2nd min3rd.mid Minor 3rd maj3rd.mid Major 3rd p4th.mid Perfect 4th aug4th.mid Augmented 4th/Diminished 5th p5th.mid Perfect 5th min6th.mid Minor 6th maj6th.mid Major 6th min7th.mid Minor 7th maj7th.mid Major 7th p8va.mid Perfect Octave LedgerNote :PHYSSIZE buttonUp buttonUp Playing ShortName TargetID RadioButtonName Playing ShortName TargetID RadioButtonName :PHYSSIZE :PHYSSIZE :PHYSSIZE min6th :PHYSSIZE maj7th :PHYSSIZE maj2nd :PHYSSIZE min3rd :PHYSSIZE aug4th :PHYSSIZE maj6th :PHYSSIZE maj3rd :PHYSSIZE min7th :PHYSSIZE min2nd :PHYSSIZE !:PHYSSIZE Never listen to a composer without knowing his motive. Here is the granddaddy of all motives: A motive is a short melodic unit. This guerilla warrior in your melodic arsenal is quick enough to strike anywhere, anytime. It can disappear just as quickly, only to reappear in another guise. is what Beethoven does with his most famous dagger-like motive: :PHYSSIZE buttonUp buttonUp motive.mid motive.mid Playing ShortName TargetID motive.mid motive.mid Playing ShortName TargetID Melody Basics buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session History Buttons Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern Main Screen Background Melody Basics Classical Rhythm Harmony Basics Reading Basics The pitch of a sound is determined by the frequency of the sound wave, that is, how frequently it repeats itself over time. The greater the frequency, the higher the pitch. As you will see on the next three pages, as the pitch of a sound rises it repeats more frequently in the same period of time. The wave is actually moving faster (causing air molecules to move more rapidly) and we perceive that increased motion as a change in pitch. c nature. The frequency with which is repeats itself determines its pitch. You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Frequency = Pitch Perhaps the previous string of pitches would sound more melodic if it had a clear rhythmic pattern. Let's try this well-known rhythmic pattern: Can you guess what tune this rhythmic pattern comes from? Here is the original tune that used this rhythm: The Rhythmic Component of Melody :PHYSSIZE :PHYSSIZE buttonUp buttonUp mel02b.mid mel02b.mid Playing ShortName TargetID mel02b.mid mel02b.mid Playing ShortName TargetID buttonUp buttonUp mel02a.mid mel02a.mid Playing ShortName TargetID mel02a.mid mel02a.mid Playing ShortName TargetID Melodies are pervasive. You hear them in the concert hall, in the elevator, and in the shower. Nearly everyone can sing a melody. So exactly what is one? A simple definition might be to say that a melody is a succession of pitches which is perceived by the mind as a unity. A simple example is the part of a song that you can sing or hum or pretend to sing or hum. This definition suggests that melodies are more that just series of pitches that you string together. The succession of pitches must somehow create the impression of a unity in the mind of the listener. Does this succession of pitches constitute a unity in your mind? What is a Melody?\\\\ :PHYSSIZE buttonUp buttonUp mel01.mid Playing ShortName TargetID mel01.mid Playing ShortName TargetID Classical Melody buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Let's take the rhythmic pattern from the previous page and apply it to that original string of pitches from the first page. Now does this succession of pitches create a unity in your mind? You may or may not agree. Such is the stuff of which musical controversies are made! Although the result was neither Mozart nor Stevie Wonder, hopefully you would agree that, with the help of an organized rhythmic pattern, this succession of pitches was at least brought closer toward the musical goal of being a real melody. Perhaps it would be fair to say that the result was a somewhat abstract melody. rhythmic pattern from the previous page and apply it to that original string of pitches from the first page. Now does this succession of pitches create a unity in your mind? You may or may not agree. Such is the stuff of which musical controversies are made! Although the result was neither Mozart nor Stevie Wonder, hopefully you would agree that, with the help of an organized rhythmic pattern, this succession of pitches was at least brought closer toward the musical goal of being a real melody. Perhaps it would be fair to say that the result was a somewhat abstract melody. Subjective Elements of Melody :PHYSSIZE buttonUp buttonUp mel03.mid Playing ShortName TargetID mel03.mid Playing ShortName TargetID :PHYSSIZE So far, you have listened to two melodic examples that used the same rhythm. However, one was clearly a melody and the other one was, at best, a rather abstract melody. Let's look at another component of melody by examining all of the different pitches in both of these examples. We'll start by putting the pitches of each melody in order from the lowest to the highest, keeping the total range within an octave. These ascending successions of pitches are known as scales. Does the sound of each scale bear some similarity to the sound of the corresponding melodic example? Does one scale sound more melodic than the other? scale sound more melodic than the other? Scales :PHYSSIZE buttonUp buttonUp mel04a.mid mel04a.mid Playing ShortName TargetID mel04a.mid mel04a.mid Playing ShortName TargetID buttonUp buttonUp mel04b.mid mel04b.mid Playing ShortName TargetID mel04b.mid mel04b.mid Playing ShortName TargetID buttonUp buttonUp mel05a.mid mel05a.mid Playing ShortName TargetID mel05a.mid mel05a.mid Playing ShortName TargetID buttonUp buttonUp mel05b.mid mel05b.mid Playing ShortName TargetID mel05b.mid mel05b.mid Playing ShortName TargetID buttonUp buttonUp mel05c.mid mel05c.mid Playing ShortName TargetID mel05c.mid mel05c.mid Playing ShortName TargetID Clearly, the choice of notes that you make when composing a melody will impact the success of your attempt at melody writing. Composers have frequently based their melodies on these preexisting logical organizations of pitches known as scales. The choice of scale is naturally related to the objectives of the composer. There are many types of scales, each with its own unique color or flavor. Explore the following scales. As you listen to each scale, imagine what a melody might sound like if it used the notes of that scale. Scales as Tools for Composition :PHYSSIZE :PHYSSIZE :PHYSSIZE Now let's look at how each of the previous scales can affect the outcome of a melody. In 1787, Wolfgang Amadeus Mozart composed twelve difficult concert variations for piano on a theme that we all know today as "Twinkle, Twinkle, Little Star." This theme uses the notes of the major scale like this: cerpt from the exciting tenth variation: tle bit and used the notes of the minor scale like this: Had the Blues scale been invented a century and a half earlier, Wolfgang might have been tempted to compose a melodic variation like this: Scales and Melodies :PHYSSIZE :PHYSSIZE If you think this "Twinkle, Twinkle" song is just kid's stuff, guess again! Check out this excerpt from my 10th variation. It's not exactly Chopsticks, if you know what I mean. buttonUp buttonUp twink.mid twink.mid Playing ShortName TargetID twink.mid twink.mid Playing ShortName TargetID buttonUp buttonUp mel06a.mid mel06a.mid Playing ShortName TargetID mel06a.mid mel06a.mid Playing ShortName TargetID :PHYSSIZE When Mozart composed the eighth variation, he changed the rhythm a little bit and used the notes of the minor scale like this: Had the Blues scale been invented a century and a half earlier, Wolfgang might have been tempted to compose a melodic variation like this: Scales and Melodies continued :PHYSSIZE buttonUp buttonUp mel06b.mid mel06b.mid Playing ShortName TargetID mel06b.mid mel06b.mid Playing ShortName TargetID buttonUp buttonUp mel06c.mid mel06c.mid Playing ShortName TargetID mel06c.mid mel06c.mid Playing ShortName TargetID status tbkMCI stopped buttonUp seqStatus buttonUp softsound1 softsound2 softsound2 softsound3 softsound3 softsound1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp softsound1 softsound2 softsound2 softsound3 softsound3 softsound1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID Soft Sound is a Low Pitch. As you can see... there is more text to go here. This is a relatively soft sound. You can see how small the wave is relative to the vertical axis. buttonUp buttonUp sofsnd.mid Playing ShortName TargetID sofsnd.mid Playing ShortName TargetID softsound1 :PHYSSIZE softsound3 :PHYSSIZE softsound2 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp loudsound1 loudsound2 loudsound2 loudsound3 loudsound3 loudsound1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp loudsound1 loudsound2 loudsound2 loudsound3 loudsound3 loudsound1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID Louder Sound is a Low Pitch. As you can see... there is more text to go here. Notice that this wave is taller than the one on the previous page. This tells you that this is a louder sound. You can tell that this sound is louder than the sound on the previous page because it is taller. buttonUp buttonUp lousnd.mid Playing ShortName TargetID lousnd.mid Playing ShortName TargetID loudsound1 :PHYSSIZE loudsound3 F :PHYSSIZE loudsound2 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp tooloud1 tooloud2 tooloud2 tooloud3 tooloud3 tooloud1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp tooloud1 tooloud2 tooloud2 tooloud3 tooloud3 tooloud1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID Very Loud Sound a Low Pitch. As you can see... there is more text to go here. This sound is even louder than the sounds on the two previous pages. ice that in all three of tha buttonUp buttonUp xlousn.mid Playing ShortName TargetID xlousn.mid Playing ShortName TargetID tooloud1 :PHYSSIZE tooloud3 :PHYSSIZE tooloud2 r :PHYSSIZE Some sound waves look very smooth and regular while others are jagged and unpredictable. Why is this? If all sound waves looked the same they would all sound the same -- the world would be one big mono-timbral synthesizer and people would probably go to rock concerts just for the beer and the T-shirts. Fortunately, this is not the case. What makes one sound sound different from another is the presence (or absence) of overtones. Overtones are groups of other pitches that are present in almost every sound we hear. When you hear a piano play middle C what you are actually hearing is middle C and a whole bunch of other pitches (or tones) above that note. That's where the term overtone comes from. We don't really perceive those other pitches as distinct from middle C because they are not very loud by comparison. A sound wave without any overtones is called a sine wave. It has a very smooth look to it and, as a result, a rather bland sound. Something like a trumpet creates a much more complex sound wave. The complexity comes from the presence of overtones and their volumes relative to the pitch you are hearing (called the fundamental). Timbre is the aspect of a sound that is determined by the quality of its overtones. Timbre = Overtones status tbkMCI stopped buttonUp seqStatus buttonUp simplesine1 simplesine2 simplesine2 simplesine3 simplesine3 simplesine1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp simplesine1 simplesine2 simplesine2 simplesine3 simplesine3 simplesine1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID A Simple Sine Wave Low Pitch. As you can see... there is more text to go here. Here's our familiar sine wave. Sine waves are to timbre what vanilla is to ice cream.. . buttonUp buttonUp simsin.mid Playing ShortName TargetID simsin.mid Playing ShortName TargetID simplesine1 :PHYSSIZE simplesine3 :PHYSSIZE simplesine2 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp complex1 complex2 complex2 complex3 complex3 complex1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp complex1 complex2 complex2 complex3 complex3 complex1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID complex2 :PHYSSIZE complex3 :PHYSSIZE A Complex Sound Wave w Pitch. As you can see... there is more text to go here. The presence of overtones in this wave contributes to its unique shape and more complex sound. complex1 :PHYSSIZE buttonUp buttonUp complx.mid Playing ShortName TargetID complx.mid Playing ShortName TargetID As it turns out, the sounds that we hear every day (environmental, instrumental, and synthetic) typically consist of complex wave forms. In the case of our flute and violin sounds, each instrument produces a note that consists of a fundamental pitch (known simply as the fundamental) and a variety of weaker pitches known as overtones. The pattern of pitches that constitute the overtones of a particular note is similar from one pitched instrument to another. The sounds made by pitched instruments, such as the flute and violin, generally contain overtones consisting of the same pitches. This pattern of pitches is referred to as the overtone series. npitched instruments, such as cymbals and most drums, have overtones, too. The overtones of these instruments do not conform to the pattern of pitches that we normally call the overtone series.) crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. The Overtone Series w Pitch. As you can see... there is more text to go here. :PHYSSIZE Now for the explanation you have been waiting for: the relative intensities of the various overtones differ from instrument to instrument. This fact gives each instrument its unique timbre. For instance, one pitched instrument may have a relatively strong second overtone. Another pitched instrument will likely have the same second overtone, but that second overtone may be weaker relative to the fundamental pitch. On the next few pages you'll find graphs of some common instrument sounds. The timbre you hear when you click each "Play" button may not exactly match the graph you are looking at, but the graphs themselves were digitized from recordings of the actual instruments. In each case, the fundamental pitch and duration are the same. The distinguishing feature of each sound is its timbre. al, you can equate a smooth quality in a sound with the absence. crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Why Different Sounds Sound Different can see... there is more text to go here. status tbkMCI stopped buttonUp seqStatus buttonUp acbass.mid basswav1 basswav3 basswav3 basswav2 basswav2 basswav1 solstr.mid flute1 flute2 flute2 flute3 flute3 flute1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName status tbkMCI stopped buttonUp seqStatus buttonUp acbass.mid basswav1 basswav3 basswav3 basswav2 basswav2 basswav1 solstr.mid flute1 flute2 flute2 flute3 flute3 flute1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName basswav1 :PHYSSIZE Acoustic Bass d Wave w Pitch. As you can see... there is more text to go here. Solo String d Wave w Pitch. As you can see... there is more text to go here. buttonUp buttonUp solstr.mid solstr.mid Playing ShortName TargetID solstr.mid solstr.mid Playing ShortName TargetID (6:^, buttonUp buttonUp acbass.mid acbass.mid Playing ShortName TargetID acbass.mid acbass.mid Playing ShortName TargetID basswav2 :PHYSSIZE basswav3 :PHYSSIZE flute1 :PHYSSIZE flute2 :PHYSSIZE flute3 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp trumpt.mid trumpet1 trumpet2 trumpet2 trumpet3 trumpet3 trumpet1 clarin.mid clarwav1 clarwav3 clarwav3 clarwav2 clarwav2 clarwav1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName status tbkMCI stopped buttonUp seqStatus buttonUp trumpt.mid trumpet1 trumpet2 trumpet2 trumpet3 trumpet3 trumpet1 clarin.mid clarwav1 clarwav3 clarwav3 clarwav2 clarwav2 clarwav1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName clarwav1 :PHYSSIZE Trumpet d Wave w Pitch. As you can see... there is more text to go here. Clarinet d Wave w Pitch. As you can see... there is more text to go here. buttonUp buttonUp clarin.mid clarin.mid Playing ShortName TargetID clarin.mid clarin.mid Playing ShortName TargetID )6C^. buttonUp buttonUp trumpt.mid trumpt.mid Playing ShortName TargetID trumpt.mid trumpt.mid Playing ShortName TargetID clarwav2 :PHYSSIZE clarwav3 :PHYSSIZE trumpet3 :PHYSSIZE trumpet1 :PHYSSIZE trumpet2 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp piano.mid pianowave1 pianowave2 pianowave2 pianowave3 pianowave3 pianowave1 cymbal.mid cymbalwave1 cymbalwave3 cymbalwave3 cymbalwave2 cymbalwave2 cymbalwave1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName status tbkMCI stopped buttonUp seqStatus buttonUp piano.mid pianowave1 pianowave2 pianowave2 pianowave3 pianowave3 pianowave1 cymbal.mid cymbalwave1 cymbalwave3 cymbalwave3 cymbalwave2 cymbalwave2 cymbalwave1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID ShortName pianowave2 :PHYSSIZE pianowave3 :PHYSSIZE pianowave1 :PHYSSIZE Piano c Bass d Wave w Pitch. As you can see... there is more text to go here. Cymbal Bass d Wave w Pitch. As you can see... there is more text to go here. **C^0 buttonUp buttonUp piano.mid piano.mid Playing ShortName TargetID piano.mid piano.mid Playing ShortName TargetID *;*^1 buttonUp buttonUp cymbal.mid cymbal.mid Playing ShortName TargetID cymbal.mid cymbal.mid Playing ShortName TargetID cymbalwave2 :PHYSSIZE cymbalwave3 :PHYSSIZE cymbalwave1 :PHYSSIZE leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing Sound waves got their name because their repeating nature makes them look like waves on the ocean. If all this frequency and amplitude stuff has you a bit confused, just think back to the original metaphor: tall waves mean louder sounds; more waves mean higher pitch. A few slow ripples in a small pond is like a soft note on a string bass. Listening to a heavy metal band is like surfing a Tsunami. elow, a sound wave has a periodic nature. The frequency with which is repeats itself determines its pitch. You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. A Metaphor leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Exposition Development Exposition Recapitulation Development Development Recapitulation Recapitulation Development Recapitulation Exposition Exposition Development Development Recapitulation Recapitulation Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Exposition Development Recapitulation Playing Now, let's add a florid, active melody in the upper register. This could be supplied by one melodically suited instrument, or by several such instruments playing polyphonically. Best suited for this role: flutes, violins, oboes, trumpets, and the like. :PHYSSIZE buttonUp buttonUp gigue3.mid Playing ShortName TargetID gigue3.mid Playing ShortName TargetID :PHYSSIZE And so we come to the question all must face as they grope for their place in the musical cosmos:Am I bass, rhythm or lead??? Am I Bass? Rhythm? Or Lead? Rhythm? Rhythm? Or Lead? Or Lead? Rhythm? Or Lead? buttonUp buttonUp mibass.mid mibass.mid Playing ShortName TargetID mibass.mid mibass.mid Playing ShortName TargetID buttonUp buttonUp mirhyt.mid mirhyt.mid Playing ShortName TargetID mirhyt.mid mirhyt.mid Playing ShortName TargetID buttonUp buttonUp milead.mid milead.mid Playing ShortName TargetID milead.mid milead.mid Playing ShortName TargetID n to Baroque Texture buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session The modern world's first democracy was invented by musicians, not politicians, in the form of polyphony. Polyphony is a musical state where all melodies are created equal, that is, where no single melody rules. Polyphony developed during the Renaissance and dominated music into the Baroque.... :PHYSSIZE In this three-part fugue of Johann Fischer, melodies enter one by one and maintain their individuality throughout. E Pluribus Unum! :PHYSSIZE buttonUp buttonUp fisher.mid Playing ShortName TargetID fisher.mid Playing ShortName TargetID A term that is virtually synonymous with polyphony is counterpoint, which means "note against note." Apparently all democracies invite competing voices, as in Bach's E minor Bourree.... :PHYSSIZE buttonUp buttonUp bouree.mid Playing ShortName TargetID bouree.mid Playing ShortName TargetID Baroque Form buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session Baroque instrumental dances followed a very predictable binary form. In this two-part structure, each section is repeated producing an AABB order of events. Further, a modulation, usually to the dominant key, occurs in the A section, while another modulation back to the tonic occurs in the B section. These binary dances come under many names, depending on the type of dance rhythm involved: allemande, courante, sarabande, bourree, gavotte, and gigue just to name a few. Baroque socialites made a point of knowing the steps to these movements, lest their name end up on the Prince's "not-too-groovy" list. The predictable AABB format helped prevent those embarrassing and unsightly missteps. Haven't I seen you some place before?? Yes, we met 200 years ago in the Renaissance. :PHYSSIZE Here is a gigue by Johann Pachelbel, starting with the repeated "A" section. Can you hear the modulation and repeat? Here's a hint: Baroque performers often chose to add ornaments to repeated sections. Our dance continues with the repeated "B" section, to modulate us back to the original key, Let's listen to the entire piece now. Can you hear all sections and modulations? :PHYSSIZE Step 1 :PHYSSIZE Step 3 :PHYSSIZE Step 2 Doesn't this remind you of the dances from the Renaissancee music :PHYSSIZE buttonUp buttonUp giguea.mid giguea.mid Playing ShortName TargetID giguea.mid giguea.mid Playing ShortName TargetID buttonUp buttonUp gigueb.mid gigueb.mid Playing ShortName TargetID gigueb.mid gigueb.mid Playing ShortName TargetID buttonUp buttonUp giguab.mid giguab.mid Playing ShortName TargetID giguab.mid giguab.mid Playing ShortName TargetID Timbre Basics buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session History Buttons Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern Have you ever wondered what makes a flute sound different from a violin? It is true that both instruments have different physical characteris- tics and that they are both played differently--one is normally blown, the other bowed. But if you bowed a flute or blew a violin, they still would not sound the same. However, both instruments do the same thing in the end: they cause air molecules to vibrate. These vibrating air molecules create sound waves which ultimately tickle the little cilia in your ears which in turn make it possible for you to hear the sound in question. These little cilia perceive the basic parameters of the sound which stimulates them: the pitch (highness or lowness), the volume (loudness), and the duration (length). What do these cilia perceive which communicates the difference between the two sound sources? What is Timbre? s a Low Pitch. As you can see... there is more text to go here. :PHYSSIZE If a flute and a violin play the very same pitch (middle C, let's say), at the same volume (such as mezzo forte), for the same duration (perhaps 5 seconds), there is still some quality of the sound that we hear that differentiates the sounds of these two instruments. That special quality is known as timbre or tone color. To understand what timbre is, let's look at some standard dia- grams of sound waves. As you will see on the next page, a sound wave has a periodic nature. The frequency with which it repeats itself determines its pitch. You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. :PHYSSIZE :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp Low Pitch 1 Low Pitch 3 Low Pitch 3 Low Pitch 2 Low Pitch 2 Low Pitch 1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp Low Pitch 1 Low Pitch 3 Low Pitch 3 Low Pitch 2 Low Pitch 2 Low Pitch 1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID buttonUp buttonUp lowpit.mid Playing ShortName TargetID lowpit.mid Playing ShortName TargetID Low Pitch This is a Low Pitch. As you can see... there is more text to go here. This wave might represent a relatively low pitched sound. Only one complete cycle of the wave is visible on the graph. The wave is moving relatively slowly so its pitch is low. Low Pitch 1 :PHYSSIZE Low Pitch 2 Z :PHYSSIZE Low Pitch 3 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp hipitch1 hipitch2 hipitch2 hipitch3 hipitch3 hipitch1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp hipitch1 hipitch2 hipitch2 hipitch3 hipitch3 hipitch1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID buttonUp buttonUp hipit.mid Playing ShortName TargetID hipit.mid Playing ShortName TargetID Higher Pitch s is a Low Pitch. As you can see... there is more text to go here. Compared to the wave on the previous page, this sound has a higher pitch. You can tell that the pitch is higher because more than one cycle of the wave is visible over the same amount of time.. hipitch1 :PHYSSIZE hipitch3 f :PHYSSIZE hipitch2 :PHYSSIZE status tbkMCI stopped buttonUp seqStatus buttonUp toohipitch1 toohipitch2 toohipitch2 toohipitch3 toohipitch3 toohipitch1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID status tbkMCI stopped buttonUp seqStatus buttonUp toohipitch1 toohipitch2 toohipitch2 toohipitch3 toohipitch3 toohipitch1 NonMultimedia Multimedia SystemState Playing MIDIFile TargetID Very High Pitch s a Low Pitch. As you can see... there is more text to go here. Now you can see many cycles of the wave on the graph over the same amount of time. The wave is moving faster and because of this its pitch is higher.. buttonUp buttonUp xhipit.mid Playing ShortName TargetID xhipit.mid Playing ShortName TargetID toohipitch1 :PHYSSIZE toohipitch3 :PHYSSIZE toohipitch2 :PHYSSIZE The volume of a sound is determined by the amplitude of the sound wave. The greater the amplitude, the louder the sound. Amplitude is represented by the vertical axis on our graphs. The taller the wave, the louder the sound. As you will see on the next few pages, the waves will get progressively taller as the sounds get louder. Waves with greater amplitudes set more air molecules in motion. We perceive this as increased volume. re. The frequency with which is repeats itself determines its pitch. You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Amplitude = Volumee :PHYSSIZE :PHYSSIZE :PHYSSIZE One rather Baroque way to spice up a melody is with ornamentation: the addition of embellishing notes to existing melody notes. Ornamentation is abundant in most Baroque art, sometimes to excess (like the way Grandma's house is overrun by doilies). But a little finery is dandy, so here are three simple examples of Baroque musical ornamentation. Mordent Trill writtenten as played playedyedn as played writtenten as played playedyedn as played writtenten as played playedyedn as played buttonUp buttonUp cmord.mid cmord.mid Playing ShortName TargetID cmord.mid cmord.mid Playing ShortName TargetID buttonUp buttonUp cturn.mid cturn.mid Playing ShortName TargetID cturn.mid cturn.mid Playing ShortName TargetID buttonUp buttonUp ctrill.mid ctrill.mid Playing ShortName TargetID ctrill.mid ctrill.mid Playing ShortName TargetID Now let's hear what Bach's Courante sounds like with a few trills, turns, and mordants sprinkled about. Musical doilies are current and hip, and they're just not for pansies! Check this out. re just not for pansies! Check this out. ent and hip, and they re just not for pansies! Check this out. :PHYSSIZE :PHYSSIZE :PHYSSIZE :PHYSSIZE buttonUp buttonUp doily.mid doily.mid Playing ShortName TargetID doily.mid doily.mid Playing ShortName TargetID buttonUp buttonUp cello2.mid cello2.mid Playing ShortName TargetID cello2.mid cello2.mid Playing ShortName TargetID Baroque Rhythm :PHYSSIZE buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session Not all music has a backbeat. The Baroque aristocracy loved a good dance as much as anyone, but often their dance sessions were preceded by free-flowing improvisations wherein rhythm is left to the whim of the performer. The fantasia (also known as a prelude or a toccata) was the performer's chance to indulge in musical fantasies, free of the metric regularity dancers depend on. Slow it down here, speed it up there, pause on a luscious harmony, whatever tickles your fantasia! In notation, the composer imposes the music onto the grid of measures and note values. But the fantasia performer knows that these rhythms should be freely interpreted........................rpreted.. :PHYSSIZE buttonUp buttonUp tocfug.mid Playing ShortName TargetID tocfug.mid Playing ShortName TargetID Baroque Rhythm Classical Melody Classical Harmony Romantic Rhythm As we learned with melodic ornamentation, the business of the Baroque era was ornate busyness. Another example of such business is their driving motor rhythms. The trick here is to arpeggiate relentlessly! That is, break your chords down into a single pattern of endlessly cycling tones. If you can imply a melody in all of this madness, so much the better! Is this technique a hint of the industrial age? Did Bach invent the first sewing machine? You be the judge........ Just remember, if it ain't Baroque, don't fix it! :PHYSSIZE buttonUp buttonUp wtcpre.mid Playing ShortName TargetID wtcpre.mid Playing ShortName TargetID Baroque Harmony :PHYSSIZE buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session Baroque composers imposed a degree of order on the harmonic mayhem of the Renaissance. They helped elevate the I, IV and V (also known as tonic, subdominant, and dom-inant) chords to most-favored-harmony status. On the next page you'll have a chance to listen to a I-IV-V-I progression in both major and minor keys. :PHYSSIZE A composer like Heinrich Sch tz could take this simple progression and turn it into a full blown composition. On the next page you'll hear what he came up with... :PHYSSIZE buttonUp buttonUp 145maj.mid 145maj.mid Playing ShortName TargetID 145maj.mid 145maj.mid Playing ShortName TargetID buttonUp buttonUp 145min.mid 145min.mid Playing ShortName TargetID 145min.mid 145min.mid Playing ShortName TargetID :PHYSSIZE Look and listen for how our simple Is, IVs and Vs are transposed, or modulated, from the key of D minor to A minor to F major and back to D minor -- all within a few bars! No wonder Baroque music is so unpredictable.. buttonUp buttonUp schutz.mid Playing ShortName TargetID schutz.mid Playing ShortName TargetID Today, college music students are forced by their masters to spend long hours studying the harmony of the Baroque era to learn its rules and traditions. While it may not be spring break in Fort Lauderdale, spending two semesters investigating the chorales of J.S. Bach, for example, is a great way to learn about what works and what doesn t when it comes to the realm of western harmony....n harmony..... :PHYSSIZE :PHYSSIZE buttonUp buttonUp jesu.mid Playing ShortName TargetID jesu.mid Playing ShortName TargetID How does this music compare to our Renaissance examples? It's obvious that composers were beginning to think vertically (chordally) as well as melodically. Baroque Timbre buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session If the King is a hot fiddle player, you better write him a hot part! The new basso continuo texture of the Baroque allowed composers to explore the idiomatic advantages of particular instruments and performers. This marked a change from the Renaissance, when most instrumental music was modeled upon the human voice. There are three distinct components in basso continuo, and each one requires a uniquely qualified instrument. Let's see what these three components are........ :PHYSSIZE First, a solid and continual bass (or thoroughbass) providing rhythmic and harmonic support in the low register. What instruments might qualify for this part? Cello, string bass, and the left hand of an organ or harpsichord part were the common choices.. :PHYSSIZE buttonUp buttonUp gigue1.mid Playing ShortName TargetID gigue1.mid Playing ShortName TargetID Next, an unobtrusive chordal harmony, filling the mid-range. A chording instrument can cover this, such as a harpsichord, lute, or organ. These instrumentalists played the "figured bass," that is, they played the bass line and added harmonies as indicated by numerals placed below the bass notes. :PHYSSIZE buttonUp buttonUp gigue2.mid Playing ShortName TargetID gigue2.mid Playing ShortName TargetID The essential ingredients of musical form are the elements of a piece (melody, rhythm, and harmony) which repeat and/or contrast with other elements. When there is no repetition, a piece does not seem as friendly to the ear. When there is no contrast, a piece may become boring. Ask Herr Bach. He knew. Notice that this section of the piece (labeled A) is composed of two subsections, a and b, and two variant subsections, a' and b'. Subsections a and b illustrate the concept of musical contrast; subsections a and a' and subsections b and b' demonstrate the idea of musical repetition. Can you hear the subtle differences between a and a' and between b and b'? d between b and b'? ard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Repetition and Contrast Pitch. As you can see... there is more text to go here. buttonUp buttonUp minup1.mid Playing ShortName TargetID minup1.mid Playing ShortName TargetID :PHYSSIZE Below is an example of binary form taken from the Baroque period. Binary form has been frequently used in all periods of Western music. To compose a piece in binary form, you need only compose two principle sections which work well together: A and B. Then, you repeat those sections like this: A-A-B-B. You can get a lot of mileage out of your creative efforts when you repeat yourself. (Be sure that section B, which concludes the piece, ends in the home key!) ian Bach s complete Minuet in G idea of musical repetition. Can you hear the subtle differences between a and a' and between b and b'? d between b and b'? ard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Binary Form d Contrast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp minuet.mid Playing ShortName TargetID minuet.mid Playing ShortName TargetID If you are feeling a little more adventurous, you can take your two sections of music -- A and B -- and create ternary form. All you have to do is rearrange those sections in the following order: A-B-A. (This time, make sure that section A, which concludes the piece, ends in the home key!) If you wish, add a little repetition like this: A-A-B-A. Like binary form, ternary form has been frequently used in all periods of Western music. Below is an example of ternary form composed in the early Classical era by Leopold Mozart, the father of the more famous Wolfgang Amadeus. ition. Can you hear the subtle differences between a and a' and between b and b'? d between b and b'? ard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Ternary Form Contrast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp bourle.mid Playing ShortName TargetID bourle.mid Playing ShortName TargetID If you respond well to authority, maybe you would prefer to follow very strict rules when you compose your piece. In this case, the canon is for you. During the Middle Ages and Renaissance, composers would often sketch out a piece and leave it to the performers to figure out how to play it in accordance with a strict compositional rule known as a canon. Following the Renaissance era, the word canon came to define a strict rule of composition in which there is a single melody which is stated two or more times in overlapping succession by one or more instrumentalists or singers. In a canon, the leading part (called a voice) is known as the dux (the Latin word for leader). The other parts (or voices) which follow are known as the comes (the Latin word for friend). ard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Canon Form Contrast Pitch. As you can see... there is more text to go here. As an example, listen to the following 3-voice canon by the Renaissance composer Thomas Tallis. As you can imagine, it takes a clever composer to compose a tune which can sound as nice as this one when used as the basis for a canon. When you're writing your canon, be careful that you don't end up with canonic cacophony! d up with canonic cacophony! with canonic cacophony! ample of ternary form composed in the early Classical era by the father of the more famous Wolfgang Amadeus Mozart. al repetition. Can you hear the subtle differences between a and a' and between b and b'? d between b and b'? ard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Canon continued ntrast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp tallis.mid Playing ShortName TargetID tallis.mid Playing ShortName TargetID Some musicians get so excited when they perform a canon that they don't want to finish when they get to the end. So, they start all over again at the beginning. When they get to the end again, they may decide to go back to the beginning yet another time. In this way, they go round and round. As you might guessed by now, a round is a special case of a canon in which each instrumentalist or singer returns to the beginning of the piece and performs the melody again. "Row, Row, Row Your Boat" and "Three Blind Mice" are probably the best-known folk examples of the round. instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. would go crazy!] You might be interested to know that A-440, the reference pitch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Round Contrast Pitch. As you can see... there is more text to go here. > :PHYSSIZE buttonUp buttonUp 3mice.mid Playing ShortName TargetID 3mice.mid Playing ShortName TargetID If you like the idea of going round and round but don't like the strictness of the round, check out the rondo. A rondo is a type of piece in which there is an A section which recurs several times alternating with contrasting sections, such as B and C. The basic idea is that you keep returning to section A between various musical excursions to other sections. The letter plan A-B-A-C-A is an example of a simple rondo form. (In a sense, the letter plan A-B-A, also known as ternary form, is an even simpler form of rondo.) Rondos were often used as final movements to sonatas, symphonies, and concertos in the Classical and subsequent musical periods. Rondos, like this Classical rondo by Clementi, are frequently lively pieces. Note that A' has a rather extended tail piece that could be referred to as a coda. Note further that section C is considerably longer than the other sections. Rondo Contrast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp rondo.mid Playing ShortName TargetID rondo.mid Playing ShortName TargetID If you are ready to tackle a rather complex form with a confusing name, take a look at sonata form. Sonata form, often called sonata allegro form, crops up in all sorts of pieces, such as duets, trios, symphonies, and concertos, not just in so-called sonatas. In the hands of master composers of the Classical and Romantic eras, sonata form became one of the most highly-developed musical forms. and Romantic eras, sonata form became one of the most highly-developed musical forms. een many permutations of sonata form. The chart of the Classical sonatina movement below illustrates the essential features that are common to sonata form pieces. (In case you are wondering, those vertical lines with the double dots in this chart surround the sections which are repeated.) (Note that the word sonatina means little sonata.) itch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Sonata Contrast Pitch. As you can see... there is more text to go here. Exposition Development Recapitulation There have been many permutations of sonata form. The chart of the Classical sonatina movement below illustrates the essential features that are common to sonata form pieces. In case you are wondering, the vertical lines with the double dots in this chart indicate sections which are repeated. The word sonatina means little sonata. A is an example of a simple rondo form. (In a sense, the letter plan A-B-A, also known as ternary form, is an even simpler form of rondo.) Rondos were often used as final movements to sonatas, symphonies, and concertos in the Classical and subsequent musical periods. Rondos, like this Classical rondo by Clementi, are frequently lively pieces. Note that A' has a rather extended tail piece that could be referred to as a coda. Note further that section C is considerably longer than the other sections. itch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Sonata continued trast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp clemen.mid Playing ShortName TargetID clemen.mid Playing ShortName TargetID :PHYSSIZE The exposition of a sonata constitutes the portion of the piece in which the listener is exposed to the composer's musical ideas. These ideas are generally grouped into two groups of themes. The development section may be very long or very short. It constitutes a reworking of musical ideas taken from the exposition. The recapitulation is intended to be a restatement of the exposition. The term literally means to put the head back on! However, the exposition, which starts in the home key, almost always ends in some key other than the home key. If the recapitulation were a literal restatement of the exposition, it would likewise end in some key other than the home key. So that the composition ends correctly in the home key, portions of the recapitulation undergo moderate to substantial alteration. Therefore, the recapitulation is generally not a literal restatement of the exposition. nation above was hard to follow, read it again. We told you that this form was complex! econd. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. :PHYSSIZE Sonata continued trast Pitch. As you can see... there is more text to go here. Speaking of complex forms, how about complex counterpoint? Like the canon and the round, the fugue is an example of counterpoint, the type of musical composition that employs two or more melodic parts simultaneously. In the case of the fugue, the musical ideas of the piece are based on a principle melody, known as the subject, and often a secondary melody, known as the countersubject. All voices of the fugue, one at a time in succession, generally state the subject at the beginning of the piece. Subsequent sections of the fugue alternate between presentations of the subject (with or without the countersubject) and other musical materials. The sections which occur between the statements of the subject are called episodes. art surround the sections which are repeated.) (Note that the word sonatina means little sonata.) itch that we use for tuning instruments worldwide, has a frequency of 440 cycles per second. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Fugue Contrast Pitch. As you can see... there is more text to go here. In the simplified diagram below, the letter "S" indicates that the theme or subject is being stated. The fugue was a very common musical form in the Baroque era (as this Baroque example suggests), and has been utilized by composers of all subsequent periods. In the hands of master composers, fugues have traditionally been lengthy and highly complex musical forms that typically contain from two to four voices or sometimes even more! wo to four voices or sometimes even more! plex musical forms that typically contain from two to four voices or sometimes even more! osition, it would likewise end in some key other than the home key. So that the composition may end correctly in the home key, portions of the recapitulation undergo moderate to substantial alteration. Therefore, the recapitulation is generally not a literal restatement of the exposition. nation above was hard to follow, read it again. We told you that this form was complex! econd. The famous middle C (actually located five keys to the left of center on a full piano keyboard) has a frequency of approximately 261.6 cycles per second. Fugue cont. Contrast Pitch. As you can see... there is more text to go here. :PHYSSIZE buttonUp buttonUp pachel.mid Playing ShortName TargetID pachel.mid Playing ShortName TargetID leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing Melody can be highly unpredictable. This Courante from J. S. Bach's Cello Suite No. 3 shows the spun out complexity of Baroque melody. It tugs at your heart a little less, but engages your intellect a little more. Full of adventurous twists and turns, listening to Baroque melody is like driving a new route -- you don't know what you'll see (hear) or where you'll end up. Kick Bach and enjoy the scenery!!! :PHYSSIZE buttonUp buttonUp cello1.mid Playing ShortName TargetID cello1.mid Playing ShortName TargetID Where is old Bach taking us? When will we get there? And will there be a rest stop along the way? The unpredictability of Baroque melody is a result of its extended length and the ever-varied lengths and shapes of its phrases. To understand our Courante, listen to the mini-sections within the total. Each one has its own personality, but Bach links them together so that every phrase seems like the logical, inevitable continuation of its predecessor. The unique styles of each section prevent boredom, and Bach's undefinable genius insures a smooth ride home. Take a spin of your own, and watch out for those potholes!!!!!!! :PHYSSIZE buttonUp buttonUp cello1.mid Playing ShortName TargetID cello1.mid Playing ShortName TargetID Baroque Melody Baroque Harmony Romantic Melody Romantic Harmony Early Music Texture buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session If you have ever sung in the shower you are guilty of monophony: single, unadorned melody. Gregorian Chant, a product of the Middle Ages and the Roman Catholic Church, is an early example of this most basic of all musical textures. Gregorian Chant served the specific purpose of worship, a more noble use of melody than showering (though cleanliness is next to godliness).7 :PHYSSIZE Early Music Texture Form Basics Listen to how a mood of austere reverence is evoked with a single, simple melody. :PHYSSIZE buttonUp buttonUp chant1.mid Playing ShortName TargetID chant1.mid Playing ShortName TargetID That was nice, but where's the beef? Our monophonic melody can be fortified by doubling it at the octave, which is kind of like ordering a double burger instead of a single. This is one good way to beef up a single melody without compromising its monophonic simplicity. But did the Gregorian monks have a monopoly on monophony??? But did the medieval monks have a monopoly on monophony??y can be fortified by doubling it at the octave, which is kind of like ordering a double burger instead of a single. This is one good way to beef up a single melody without compromising its monophonic simplicity. But did the Gregorian monks have a monopoly on monophony??? :PHYSSIZE buttonUp buttonUp chant2.mid chant2.mid Playing ShortName TargetID chant2.mid chant2.mid Playing ShortName TargetID buttonUp buttonUp taps.mid taps.mid Playing ShortName TargetID taps.mid taps.mid Playing ShortName TargetID Early Music Form buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session One of the oldest ways of organizing music is in the form of successive variations over a set chord progression. During the Renaissance, any instrumentalist worth his saltarello could improvise such variations for the purpose of dance. Certain chord progressions were standard fare, known by all musicians and played by whatever ensemble was on hand. :PHYSSIZE Early Music Form Classical Texture Modern Timbre Old Main Screen Background This eight measure repeating progression was so common it was given a name: passamezzo antico. It's as simple as musical form gets. Along with another progression called passamezzo moderno, it provided the form for countless improvisations and popular melodies... Want to try your own set of improvisations over these chords? :PHYSSIZE buttonUp buttonUp vald1.mid Playing ShortName TargetID vald1.mid Playing ShortName TargetID Use these scales to improvise with. Kinda like the Blues, methinks! :PHYSSIZE buttonUp buttonUp vald4.mid Playing ShortName TargetID vald4.mid Playing ShortName TargetID Baroque Melody :PHYSSIZE buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session To Session buttonUp buttonUp ToSession ession ssion Romantic Texture Baroque Texture Timbre Basics Form Basics Melody buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen History buttonUp buttonUp History Buttons History Buttons History History Buttons Cancel ory Buttons History Buttons History History Buttons Cancel History :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session History Buttons Early Music buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Early Music Baroque buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Baroque Classical buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Classical Romantic buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Romantic Modern buttonUp buttonUp GoToHistory TargetName GoToHistory TargetName Modern annot really see music in the way that you see other art forms, such as architecture and painting. Rather, you hear music as it is played. Despite the fact that music is not a subject for the eyes, music does have form. As the various sections of a piece unfold in time, those sections establish the musical form or architecture of the work in question. es of music from which he created a four-measure piece. Rather clever, don t you think? It is sort of like the Greek temple architect who just kept repeating those Doric columns out front. In both cases, the composer and the architect kept reusing their good ideas. There are many different formal structures that composers have used throughout the ages. Those which we will explore here are: binary, ternary, canon, round, rondo, sonata, fugue, and popular song forms. and popular song forms. You cannot really see music in the way that you see other art forms, such as architecture and painting. Rather, you hear music as it is played. Despite the fact that music is not a subject for the eyes, music does have form. As the various sections of a piece unfold in time, those sections establish the musical form or architecture of the work in question. There are many different formal structures that composers have used throughout the ages. Those which we will explore here are: binary, ternary, canon, round, rondo, sonata, and fugue forms.g forms. the composer and the architect kept reusing their good ideas. There are many different formal structures that composers have used throughout the ages. Those which we will explore here are: binary, ternary, canon, round, rondo, sonata, fugue, and popular song forms. and popular song forms. :PHYSSIZE What is Form in Music? Pitch. As you can see... there is more text to go here. 8_ leavePage enterPage NoteOn NoteOff enterPage scale.mid oY OpenSequence from 1920 wait tbkMCI o7=NoteOff PatchZero Multimedia SystemState ShortName MIDIFile SuspendError leavePage stop all tbkMCI close all tbkMCI seqStop Playing errorValue Multimedia SystemState SuspendError NoteOn Ledger Line Ledger Line Ledger Line Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name to 31 tbkMCI from 1888 tbkMCI tbkMCI PatchZero seqSendEvent GeneralError errorValue NonMultimedia EndLoc StartLoc Multimedia SystemState MIDIFile TargetName NoteOff tbkMCI tbkMCI seqSendEvent errorValue NonMultimedia Multimedia SystemState MIDIFile TargetName The following example demonstrates the essential ingredients of musical form: repetition and contrast. If you thought of the A sections as representing walls and the B section as representing a window or a door, then you would have a handle on the concept of musical form. Listen to this simple folk tune: Notice how the first measure of music (labeled A) is repeated three times. All of this repetition immediately makes the tune sound familiar upon the first hearing. Notice, too, that the third measure (labeled B) is completely different from the other measures. Thankfully at least one of these measures is different. Isn't it refreshing to have a contrasting measure of music?usic?sure of music?ese measures is different. Isn't it refreshing to have a contrasting measure of music? :PHYSSIZE buttonUp buttonUp hotbun.mid Playing ShortName TargetID hotbun.mid Playing ShortName TargetID leavePage leavePage Greensleeves it is Playing Greensleeves it is Playing Greensleeves it is Aaahhhh... Greensleeves it is! Now we've seen how rhythm, harmony, and form combine to make the whole. Many composers say that a great melody just hits you like a good idea. But knowing the mechanics of melody making can help you build a more durable tune. Will your next ditty still be going strong 300 years from now? be going strong 300 years from now? :PHYSSIZE buttonUp buttonUp green4.mid Greensleeves it is Playing ShortName TargetID green4.mid Greensleeves it is Playing ShortName TargetID Early Music Rhythm buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session :PHYSSIZE Don't you just love a good saltarello? Shut up and dance! One way to enjoy rhythm is to dance, an important form of courtly entertainment during the Renaissance, when cable TV was unavailable in most regions. Every house of nobility had on staff musicians who knew all the standard dance rhythms of the day. Also on hire was a dancemaster to teach the corresponding dance steps. So if you wanted to be a hit with the local prince in 1490, you had to be able to hoof it to dances like the passamezzo, saltarello, branle, pavane, and other rhythmic formulas too numerous to mention. Each dance has its own identifiable rhythm which provides dancers with a predictable groove to execute the prescribed steps. Musicians used the meter and feel of a dance as a foundation for improvising and composing................ Early Music Rhythm Classical Timbre Main Screen :PHYSSIZE Harmony is the vertical dimension of music. Two or more notes which occur at the same time constitute harmony. Two or more notes which occur in succession but which relate to each other in a vertical manner also constitute harmony. Of course, harmonies may or may not be harmonious... For that matter, music may not always soothe the savage beast! What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? What is Harmony? :PHYSSIZE :PHYSSIZE buttonUp buttonUp hrm01c.mid hrm01c.mid Playing ShortName TargetID hrm01c.mid hrm01c.mid Playing ShortName TargetID buttonUp buttonUp hrm01d.mid hrm01d.mid Playing ShortName TargetID hrm01d.mid hrm01d.mid Playing ShortName TargetID buttonUp buttonUp hrm01b.mid hrm01b.mid Playing ShortName TargetID hrm01b.mid hrm01b.mid Playing ShortName TargetID buttonUp buttonUp hrm01a.mid hrm01a.mid Playing ShortName TargetID hrm01a.mid hrm01a.mid Playing ShortName TargetID Dances are distinguished from one another by their meters and by recurring rhythmic patterns. First, a basse dance in slow triple meter. This might be followed by a pavane, slow and processional. Now we'll liven things up with a galliard, the triple meter version of the pavane....and finish up with an allemande in moderate duple: And finish up with an allemande in moderate duple meter. :PHYSSIZE Step 1 :PHYSSIZE Step 22 :PHYSSIZE Step 4 :PHYSSIZE Step 3 :PHYSSIZE Did you work up a sweat ? buttonUp buttonUp basdan.mid basdan.mid Playing ShortName TargetID basdan.mid basdan.mid Playing ShortName TargetID buttonUp buttonUp pavane.mid pavane.mid Playing ShortName TargetID pavane.mid pavane.mid Playing ShortName TargetID buttonUp buttonUp gallrd.mid gallrd.mid Playing ShortName TargetID gallrd.mid gallrd.mid Playing ShortName TargetID 34 ^- buttonUp buttonUp allmnd.mid allmnd.mid Playing ShortName TargetID allmnd.mid allmnd.mid Playing ShortName TargetID Early Music Harmony buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session Remember, it takes two to harmonize. Some of the earliest harmonies we know of are found in organum -- the harmonized melodies of Gregorian Chant and other liturgical melodies. A chant is established by the cantus firmus, or firm voice (essentially an unchanging melody around which other musical parts can be created) to which a harmonizing second voice may be added. But how do you know which notes to use? :PHYSSIZE Here is a typical cantus firmus. The earliest harmonic experiments, circa 800 A.D., involved simply adding a parallel melody with notes, say, a fifth below.A chant is established by the cantus firm, or firm voice (essentially an unchanging melody around which other musical parts can be created.) to which a harmonizing second voice may be added. But how do you know which notes to use? :PHYSSIZE :PHYSSIZE buttonUp buttonUp cantus.mid Playing ShortName TargetID cantus.mid Playing ShortName TargetID Voila! Two-part parallel organum! Pretty fancy name for such a simple concept....... :PHYSSIZE :PHYSSIZE buttonUp buttonUp parorg.mid Playing ShortName TargetID parorg.mid Playing ShortName TargetID :PHYSSIZE Over the centuries, composers added other kinds of harmony to the popular cantus firmus melodies of the day. In the free organum of 1100 A.D. all sorts of intervals were cropping up. Melodies and harmonies beginning moving in more directions as composers began to use contrary as well as parallel motion. Witness the birth of counterpoint.... Hey, I've heard that sound before. Let me try it out on my electric guitar!... :PHYSSIZE buttonUp buttonUp Shocked freorg.mid freorg.mid Playing ShortName TargetID f tonUp Shocked freorg.mid freorg.mid Playing ShortName TargetID buttonUp buttonUp Shocked guitar.mid Shocked guitar.mid Shocked Playing ShortName TargetID Shocked guitar.mid Shocked guitar.mid Shocked Playing ShortName TargetID Shocked :PHYSSIZE Ledger Line leavePage leavePage Shocked Playing LastPage Shocked Playing LastPage Early Music Timbre buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics To Session buttonUp buttonUp ToSession ession To Session o Session Polyphonic music encourages equality of timbre as well as equality of melody. Why is this? If no single melody is intended to stick out, no individual instrument should dominate either. Think of this as musical socialism. Renaissance music was performed on whatever instruments were available, but the preferred arrangement was to play the tune in a whole consort, an ensemble of like instruments in different registers: recorders, viols, lutes, etc. The king of Renaissance timbres, however, was the human voice. Madrigals written for singers were often performed by instrumental consorts, either whole (same instrument) or broken (different instruments)........... :PHYSSIZE Early Music Timbre Baroque Form Rhythm Basics Romantic Form Modern Melody Modern Harmony Here is a madrigal by one of the top composers of the day, Giovanni Palestrina:vanni Palestrina: Whole Consort (Recorders) Whole Consort (Voices) Whole Consort (Lutes) Broken Consort3 Consorts in Concerts% :PHYSSIZE buttonUp buttonUp broken.mid broken.mid Playing ShortName TargetID broken.mid broken.mid Playing ShortName TargetID buttonUp buttonUp wholel.mid wholel.mid Playing ShortName TargetID wholel.mid wholel.mid Playing ShortName TargetID buttonUp buttonUp wholev.mid wholev.mid Playing ShortName TargetID wholev.mid wholev.mid Playing ShortName TargetID buttonUp buttonUp wholer.mid wholer.mid Playing ShortName TargetID wholer.mid wholer.mid Playing ShortName TargetID Music Mentor System dlgInitAbout mes New Roman gD|D| `D|D| mes New Roman mes New Roman dlgBoxAbout v,,s14,Music Mentor Opus 1.0CD Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. 3,14.07,17,1342242817,128,OK,0,,5.45,50.54,153.07,29.09,492,1342177280,130,Music Mentor was composed by Steve Peha,0 ntor was composed by Steve Peha,0 Bourne. 2dlgBoxMIDISetup dlgBoxMIDISetup dlgBoxSessionPrefs dlgBoxMPUSettings dlgInitIndex button Go To Page,b93,TRUE button Cancel,b479,FALSE listbox Index,l516, button Remove Entry,b522,TRUE ,s523,Select the page you want to go to. dlgBoxIndex 1342177280,130,Music Mentor was composed by Steve Peha,0 button Go To Page,b93,TRUE button Cancel,b479,FALSE listbox Index,l516, button Remove Entry,b522,TRUE ,s523,Select the page you want to go to. 524480,5,100,50,151,170,,,Index,8,Helv,Go To Page,20.65,135.26,50.90,15.79,93,1342242817,128,Go To Page,0,Cancel,80.30,135.26,50.93,15.79,479,1342242816,128,Cancel,0,Index,12.88,21.58,126.93,82.42,516,1352728579,131,,0,Remove Entry,44.65,110.03,65.30,15.79,522,1342242816,128,Remove Entry,0,,12.88,9.11,126.97,11.45,523,1342177280,130,Select the page you want to go to.,0 ows MIDI Driver if you are running Windows 3.1 or higher. Works with FM Sound Cards and MPU-401/Compatible interfaces. Select Midisoft MIDI Driver if you are running Windows 3.0. Works with MPU-401/Compatible MIDI interfaces only. ,s404,Two sets of MIDI files have been created for Music Mentor. Select the type that best matches your MIDI hardware. groupbox IRQ (Interrupt) Level,g187,IRQ (Interrupt) Level button IRQ 2,b188,FALSE button IRQ 3,b191,FALSE button IRQ 4,b192,FALSE button IRQ 5,b193,FALSE button IRQ 6,b194,FALSE button IRQ 7,b195,FALSE groupbox I/O Address,g428,I/O Address button 330H,b429,FALSE button 332H,b430,FALSE button 340H,b431,FALSE button OK,b93,TRUE button Cancel,b479,FALSE Serif pfDingbats groupbox Tracks to view,g1068,Tracks to view ,s1069,Choose this option if you would like to view MIDI channels 13-16. ,s1071,Choose this option if you would like to view MIDI channels 1-10. ,s1072,Choose this option if you would like to view all MIDI channels. button Use MIDI Mapper in Session,b1073,FALSE button OK,b1074,TRUE button Cancel,b1075,FALSE button Base Level,b1062,FALSE button Extended Level,b1063,FALSE button All,b1064,FALSE ,s14,Music Mentor Opus 1.01 Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. ,s14,Music Mentor Opus 1.02 Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. ,14.07,17,1342242817,128,OK,0,,5.45,50.54,153.07,29.09,492,1342177280,130,Music Mentor was composed by Steve Peha,0 .46,1073,1342242819,128,Use MIDI Mapper in Session,0,OK,65.30,131.73,50.86,12.31,1074,1342242817,128,OK,0,Cancel,130.51,131.32,50.86,12.31,1075,1342242816,128,Cancel,0,Base Level,18.67,23.18,48.53,10.46,1062,1342308361,128,Base Level,0,Extended Level,89.30,23.18,63.47,10.46,1063,1342177289,128,Extended Level,0,All,169.87,23.18,20.53,10.46,1064,1342177289,128,All,0 usic Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. ,21.13,126.93,82.42,516,1352728579,131,,0,Remove Entry,44.65,109.58,65.33,15.79,522,1342242816,128,Remove Entry,0,,12.91,8.66,115.73,11.45,523,1342177280,130,Select the page you want to go to.,0 ,s14,Music Mentor Opus 1.01 rc 1 Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. ,s14,Music Mentor Opus 1.02 rc 1 Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. 524480,3,100,65,159,116,,,About Music Mentor,8,Helv,,14.06,13.33,130.67,37.62,14,1342177281,130,Music Mentor Opus 1.02 Copyright 1991-92 Music Technology Associates,0,OK,53.87,81.68,50.93,14.07,17,1342242817,128,OK,0,,5.45,50.54,153.07,29.09,492,1342177280,130,Music Mentor was composed by Steve Peha,0 46,1062,1342308361,128,Base Level,0,Extended Level,89.30,22.69,63.47,10.46,1063,1342177289,128,Extended Level,0,All,169.87,22.69,20.53,10.46,1064,1342177289,128,All,0 (dlgInitSessionPrefs groupbox Tracks to view,g1068,Tracks to view ,s1069,Choose this option if you would like to view MIDI channels 13-16. ,s1071,Choose this option if you would like to view MIDI channels 1-10. ,s1072,Choose this option if you would like to view all MIDI channels. button Use MIDI Mapper in Session,b1073,FALSE button OK,b1074,FALSE button Cancel,b1075,FALSE button Base Level,b1062,FALSE button Extended Level,b1063,FALSE button All,b1064,FALSE MIDI hardware. dlgBoxHelp button OK,b93,TRUE listbox Help,l592, ,Helv,OK,86.55,203.24,50.90,16.08,93,1342242817,128,OK,0,,7.85,12.47,208.30,180.92,592,1352728579,131,,0 dlgInitHelp button OK,b93,TRUE ,l592, 524480,2,50,10,223,240,,,Music Mentor Help,8,Helv,OK,86.55,203.24,50.90,16.08,93,1342242817,128,OK,0,Help,7.85,12.47,208.30,180.92,592,1352728577,131,,0 ,s14,Music Mentor Opus 0.9 Beta Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. 524480,8,20,15,323,244,,,Session Preferences,8,Helv,Channels to view,7.47,10.50,308.42,166.85,1068,1342177287,128,Channels to view,0,Base Level,100.80,155.24,48.53,10.46,1062,1342308361,128,Base Level,0,Extended Level,166.13,155.24,63.47,10.46,1063,1342177289,128,Extended Level,0,,15.50,26.58,295.66,124.64,1158,1342308352,130,The "Device-Independent MIDI Files" option is currently selected in the MIDI Setup dialog box. Device-Independent MIDI files contain two "arrangements" of the piece -- one for Base Level MIDI devices,0,Use MIDI Mapper in Session,7.47,187.41,104.53,10.46,1073,1342242819,128,Use MIDI Mapper in Session,0,OK,203.47,211.94,50.86,12.31,1074,1342242817,128,OK,0,Cancel,261.33,211.53,50.86,12.31,1075,1342242816,128,Cancel,0,Prompt Before Going to Session,7.47,203.49,115.73,10.46,1160,1342242819,128,Prompt Before Going to Session,0 &v,T'57,26.58,82.10,52.27,888,1342177280,130,Select No MIDI Driver if you have no sound card or other MIDI hardware device installed in your system.,0,MIDI Files,7.47,84.88,326.48,66.34,180,1342308359,128,MIDI Files,0,Device-Independent MIDI Files,14.90,96.78,113.10,10.46,181,1342177289,128,Device-Independent MIDI Files,0,Normal MIDI Files,179.20,96.94,137.30,10.46,182,1342177289,128,Normal MIDI Files (General MIDI Files),0,,24.80,108.84,132.72,40.21,404,1342177280,130,These files include two "arrangements" of each piece,0,,189.07,108.84,125.10,38.36,890,1342177280,130,These files contain only one "arrangement" of each piece.,0,IRQ (Interrupt) Level,20.53,173.33,106.40,54.28,187,1342308359,128,IRQ (Interrupt) Level,0,IRQ 2,28.11,185.39,31.73,10.46,188,1342177289,128,IRQ 2,0,IRQ 3,28.27,197.46,31.70,10.46,191,1342177289,128,IRQ 3,0,IRQ 4,28.27,209.52,31.70,10.46,192,1342177289,128,IRQ 4,0,IRQ 5,82.13,185.39,31.77,10.46,193,1342177289,128,IRQ 5,0,IRQ 6,82.32,197.46,31.73,10.46,194,1342177289,128,IRQ 6,0,IRQ 7,82.32,209.52,31.73,10.46,195,1342177289,128,IRQ 7,0,I/O Address,143.73,169.31,106.40,64.74,690,1342308359,128,I/O Address,0,332H,205.64,181.37,30.02,10.46,699,1342177289,128,332H,0,334H,205.71,193.44,29.98,10.46,700,1342177289,128,334H,0,336H,205.71,205.50,29.98,10.46,701,1342177289,128,336H,0,340H,205.71,217.81,29.98,10.46,702,1342177289,128,340H,0,300H,151.31,181.37,30.02,10.46,691,1342177289,128,300H,0,310H,151.47,193.44,29.98,10.46,692,1342177289,128,310H,0,320H,151.20,205.50,29.98,10.46,693,1342177289,128,320H,0,330H,151.47,217.81,29.98,10.46,698,1342177289,128,330H,0 -dlgInitMIDISetup hat best matches your MIDI hardware.,0,General MIDI Devices,30.55,162.75,84.00,10.46,551,1342177289,128,General MIDI Devices,0 ,s14,Music Mentor Opus 1.01 Copyright 1991-92 Music Technology Associates button OK,b17,TRUE ,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne. groupbox Channels to view,g1068,Channels to view button Base Level,b1062,FALSE button Extended Level,b1063,FALSE ,s1158,The "Device-Independent MIDI Files" option is currently selected in the MIDI Setup dialog box. Device-Independent MIDI files contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices. When you go to Recording Session you have the option of viewing the arrangement for Base Level devices (on MIDI channels 13-16) or Extended Level devices (on MIDI channels 1-10). If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 13-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below. If you choose one of these options and in Recording Session you see music but don't hear any on playback, choose the other option when you return to Music Mentor. button Use MIDI Mapper in Session,b1073,FALSE button OK,b1074,TRUE button Cancel,b1075,FALSE button Prompt Before Going to Session,b1160,FALSE p 92,FALSE button IRQ 5,b193,FALSE button IRQ 6,b194,FALSE button IRQ 7,b195,FALSE groupbox I/O Address,g690,I/O Address button 332H,b699,FALSE button 334H,b700,FALSE button 336H,b701,FALSE button 340H,b702,FALSE button 300H,b691,FALSE button 310H,b692,FALSE button 320H,b693,FALSE button 330H,b698,FALSE ,g1000,Additional Midisoft MIDI Driver Settings button Cancel,b94,FALSE button OK,b93,TRUE groupbox MIDI Driver,g72,MIDI Driver button Multimedia MIDI Driver,b68,FALSE button Midisoft MIDI Driver,b74,FALSE button No MIDI Driver,b758,FALSE ,s402,This driver uses the MIDI Mapper. Please make sure the MIDI Mapper is properly configured. ,s887,This driver can only be used with MPU-401 and compatible devices. This driver does not use the MIDI Mapper. ,s888,Select No MIDI Driver if you have no sound card or other MIDI hardware device installed in your system. groupbox MIDI Files,g180,MIDI Files button Device-Independent MIDI Files,b181,FALSE button Normal MIDI Files,b182,FALSE ,s404,These files include two "arrangements" of each piece, one for "extended" MIDI systems and one for "base-level" MIDI systems. ,s890,These files contain only one "arrangement" of each piece. groupbox IRQ (Interrupt) Level,g187,IRQ (Interrupt) Level button IRQ 2,b188,FALSE button IRQ 3,b191,FALSE button IRQ 4,b192,FALSE button IRQ 5,b193,FALSE button IRQ 6,b194,FALSE button IRQ 7,b195,FALSE groupbox I/O Address,g690,I/O Address button 332H,b699,FALSE button 334H,b700,FALSE button 336H,b701,FALSE button 340H,b702,FALSE button 300H,b691,FALSE button 310H,b692,FALSE button 320H,b693,FALSE button 330H,b698,FALSE 524480,31,10,5,339,258,,,MIDI Setup,8,Helv,,7.47,155.61,261.30,86.44,1000,1342308359,128,Additional Midisoft MIDI Driver Settings,0,Cancel,283.70,216.70,45.33,16.08,94,1342242816,128,Cancel,0,OK,283.70,193.81,45.33,16.08,93,1342242817,128,OK,0,MIDI Driver,7.47,2.83,326.67,80.00,72,1342177287,128,MIDI Driver,0,Multimedia MIDI Driver,14.90,12.88,87.31,10.46,68,1342177289,128,Multimedia MIDI Driver,0,Midisoft MIDI Driver,110.10,12.88,76.53,10.46,74,1342177289,128,Midisoft MIDI Driver,0,No MIDI Driver,214.67,12.88,76.53,10.46,758,1342177289,128,No MIDI Driver,0,,24.84,26.95,74.67,52.27,402,1342177280,130,This driver uses the MIDI Mapper. Please make sure the MIDI Mapper is properly configured.,0,,120.04,26.95,85.87,52.27,887,1342177280,130,This driver can only be used with MPU-401 and compatible devices. This driver does not use the MIDI Mapper.,0,,224.53,26.95,82.13,52.27,888,1342177280,130,Select No MIDI Driver if you have no sound card or other MIDI hardware device installed in your system.,0,MIDI Files,7.47,85.25,326.48,66.34,180,1342308359,128,MIDI Files,0,Device-Independent MIDI Files,14.90,97.15,113.10,10.46,181,1342177289,128,Device-Independent MIDI Files,0,Normal MIDI Files,179.20,97.31,137.30,10.46,182,1342177289,128,Normal MIDI Files (General MIDI Files),0,,24.80,109.21,132.69,40.21,404,1342177280,130,These files include two "arrangements" of each piece,0,,189.07,109.21,125.07,38.36,890,1342177280,130,These files contain only one "arrangement" of each piece.,0,IRQ (Interrupt) Level,20.50,173.70,106.40,54.28,187,1342308359,128,IRQ (Interrupt) Level,0,IRQ 2,28.08,185.76,31.73,10.46,188,1342177289,128,IRQ 2,0,IRQ 3,28.27,197.83,31.70,10.46,191,1342177289,128,IRQ 3,0,IRQ 4,28.27,209.89,31.70,10.46,192,1342177289,128,IRQ 4,0,IRQ 5,82.10,185.76,31.77,10.46,193,1342177289,128,IRQ 5,0,IRQ 6,82.29,197.83,31.73,10.46,194,1342177289,128,IRQ 6,0,IRQ 7,82.29,209.89,31.73,10.46,195,1342177289,128,IRQ 7,0,I/O Address,143.70,169.68,106.40,64.74,690,1342308359,128,I/O Address,0,332H,205.64,181.74,30.02,10.46,699,1342177289,128,332H,0,334H,205.68,193.81,29.98,10.46,700,1342177289,128,334H,0,336H,205.68,205.87,29.98,10.46,701,1342177289,128,336H,0,340H,205.68,218.17,29.98,10.46,702,1342177289,128,340H,0,300H,151.28,181.74,30.02,10.46,691,1342177289,128,300H,0,310H,151.47,193.81,29.98,10.46,692,1342177289,128,310H,0,320H,151.20,205.87,29.94,10.46,693,1342177289,128,320H,0,330H,151.47,218.17,29.98,10.46,698,1342177289,128,330H,0 leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing leavePage seqStatus buttonUp status tbkMCI stopped buttonUp status position tbkMCI Multimedia NonMultimedia SystemState Playing StartTime MIDIFile TargetID leavePage Playing Early Music Melody Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics buttonUp buttonUp MPrev buttonUp buttonUp MNext Main Screen buttonUp buttonUp MMain Main Screen :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session o Session buttonUp buttonUp hrm02d.mid hrm02d.mid Playing ShortName TargetID hrm02d.mid hrm02d.mid Playing ShortName TargetID buttonUp buttonUp hrm02b.mid hrm02b.mid Playing ShortName TargetID hrm02b.mid hrm02b.mid Playing ShortName TargetID buttonUp buttonUp hrm02a.mid hrm02a.mid Playing ShortName TargetID hrm02a.mid hrm02a.mid Playing ShortName TargetID buttonUp buttonUp hrm02c.mid hrm02c.mid Playing ShortName TargetID hrm02c.mid hrm02c.mid Playing ShortName TargetID X :PHYSSIZE Two notes which occur simultaneously or which relate to each other vertically are called an interval. Three or more notes which occur simultaneously or which relate to each other vertically are called a chord. Intervals are important because they are the building blocks of chords. compose yourself. Do you intend to compose tonally or atonally? What type of scale have you chosen to use? Are you sticking with the notes of the chosen scale or are you borrowing other notes? Does your melody emphasize stepwise movement (that is, going from one note to the next adjacent note in the scale either above or below), or does you melody emphasize leaps to distant notes? Does each phrase of your melody end on the keynote of the scale (a.k.a. the tonic), or do some phrases conclude, in a more questioning fashion, on other notes of the scale? Do you re-use small portions of your melody, or is every phrase completely new? Do you use clearly established rhythmic patterns? Do certain portions of your melody ever suggest particular chords? If so, do these chords fit the harmonic structure of your composition? Intervals: The Building Blocks of Chords :PHYSSIZE :PHYSSIZE :PHYSSIZE NoteUp enterPage NoteDown NoteFunctions enterPage Counter TargetName NoteUp Ledger Line Ledger Line 'bNoteFunctions NoteDown Ledger Line Ledger Line 'bNoteFunctions NoteFunctions Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Note Name Counter TargetName What makes a melody melodic? Good melodies represent the artful combination of other musical elements like rhythm, harmony, and form. The best melodies, like the one we will examine here, are built to last for centuries. Let's check out a model of simple beauty that is almost as well known today as it was when it topped the charts in 1600. See if you can name the tune as we build it from the ground up. :PHYSSIZE Here's some of what Beethoven does with his most famous motive. That's a lot of music generated from one itsy bitsy motive! As you can see, Beethoven was one of the world's most highly motivated composers. ated composers. :PHYSSIZE buttonUp buttonUp beeth5.mid Playing ShortName TargetID beeth5.mid Playing ShortName TargetID Early Music Melody Early Music Harmony Baroque Timbre Romantic Timbre First, the rhythm. A solid, well shaped rhythm is so important that you may be able to guess our tune with it alone. In some melodies, groups of repeating patterns are followed by concluding patterns that ward off monotony. This rhythm seems to suggest a two phrase, question and answer approach. Now let's add some harmony...... :PHYSSIZE buttonUp buttonUp green1.mid Playing ShortName TargetID green1.mid Playing ShortName TargetID This passamezzo chord progression complements the two-part Q&A of the rhythm: an Am-G-Am-E progression with a turnaround returning to an Am in the second phrase. Now we want to make these chords obvious to the ear with appropriate pitches as the melody takes shape.... :PHYSSIZE buttonUp buttonUp green2.mid Playing ShortName TargetID green2.mid Playing ShortName TargetID :PHYSSIZE #T T T :PHYSSIZE Motive-oriented melody can sound a bit too insistent and combative to represent the lyric yearnings of some romantics. The opposite of motive-generated melody is found in the soaring lyricism of romantics like Sibelius in his nationalistic tone poem, Finlandia. This is a flowing, spirit-soothing kind of melody that makes you want to apologize to your old 5th grade teacher for stealing her grade book and running it through the paper cutter.......... buttonUp buttonUp finlnd.mid Playing ShortName TargetID finlnd.mid Playing ShortName TargetID Romantic Rhythm buttonUp buttonUp MNext buttonUp buttonUp MPrev Main Screen buttonUp buttonUp MMain Main Screen Back to Basics buttonUp buttonUp BackToBasics ackToBasics Back to Basics :PHYSSIZE To Session buttonUp buttonUp ToSession ession To Session No need for the background chords now, since our melodic pitches are based on the notes of those chords. The pitches make a roller coaster ride that you may have been on before. Let's make the ride a bit less bumpy by adding some passing tones between a few chord tone pairs.... :PHYSSIZE buttonUp buttonUp green3.mid Playing ShortName TargetID green3.mid Playing ShortName TargetID }W_}Uu P@? k[mkU UK?uX UU ") ,UUzU @IUkk J<`HN @ZD@ z @B Q!P? ATUQ z @B Q!P? 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