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!
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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
Modern Form
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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.
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What will these young modern composers come up with next?
Modern Form
Modern Melody
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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.
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Modern Rhythm
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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?
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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.
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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........
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Romantic Harmony
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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.
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What do ya say, boys? A few more sharps and flats and we'll have'em cryin' in their beer!
Romantic Timbre
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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..............................
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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..............................
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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..............................
Romantic Texture
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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.........
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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
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#n%T':)
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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.
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A wedding
celebration.Moldau.
A wedding celebration.
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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.
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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.
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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.
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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............
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!)
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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?
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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
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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
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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??
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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?
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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.
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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..
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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.
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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.
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Texture Basics
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Texture Basics
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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
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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?
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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.............
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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.
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Classical Harmony
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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!
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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!
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: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.
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Classical Timbre
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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.
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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.
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Building a Classical Orchestraaaaa
The Low Register
The Middle Register
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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.
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" :PHYSSIZE
Building a Classical Orchestra cont.
The High Register
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Classical Texture
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Two streams converging.
Guess
The broad and mighty Moldau.
Guess
Nymphs in the night.
Guess
The hunt.
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A wedding celebration.
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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 '
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Sorry, that isn't '
The hunt.
You're right! That's '
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Sorry, that isn't '
A wedding celebration.
You're right! That's '
Score
Sorry, that isn't '
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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!"
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"Aaaaahhh! That good old homophonic sound. So elegant, so refined, so... classic!"""""""
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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
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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
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*(*N*
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*:PHYSSIZE
L+:PHYSSIZE
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T,:PHYSSIZE
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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
Harmony Basics
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: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
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Classical Rhythm
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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.
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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:
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Melody Basics
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Melody Basics
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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.
w.DtC-Dy
6F:l:b<X>N@DB
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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
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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.
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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.
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:PHYSSIZE
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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
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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
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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.
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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
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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.
(6:^,
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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.
)6C^.
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Piano
c Bass
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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
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*;*^1
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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.
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Baroque Texture
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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....
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Baroque Form
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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?
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Step 1
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Step 3
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Step 2
Doesn't this remind you of the dances from the Renaissancee music
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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
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
: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
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
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
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3mice.mid
Playing
ShortName
TargetID
3mice.mid
Playing
ShortName
TargetID
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
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buttonUp
clemen.mid
Playing
ShortName
TargetID
clemen.mid
Playing
ShortName
TargetID
:PHYSSIZE
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
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
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
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
Early Music Form
buttonUp
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MPrev
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MNext
Main Screen
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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
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...
:PHYSSIZE
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vald1.mid
Playing
ShortName
TargetID
vald1.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
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GoToHistory
TargetName
GoToHistory
TargetName
Modern
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
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
: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
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
`<@&@&
sic Mentor
System
dlgInitAbout
mes New Roman
gD|D|
mes New Roman
mes New Roman
dlgBoxAbout
,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.
button OK,b93,TRUE
listbox Help,l592,
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.
,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.
Music Mentor LE
us 1.03
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.
524480,3,100,65,183,126,,,About Music Mentor LE,8,Helv,,9.10,11.53,164.34,23.02,14,1342177281,130,Music Mentor LE 1.0
Copyright
1992-93 Midisoft Corporation,0,OK,70.78,89.15,50.93,14.07,17,1342242817,128,OK,0,,11.05,36.88,158.67,40.82,492,1342177280,130,Portions of this Product Copyright
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.
,s14,Music Mentor LE 1.0
Copyright
1992-93 Midisoft Corporation
button OK,b17,TRUE
,s492,Portions of this Product Copyright
1991-1993
Tom Bourne, Chris Bruya, Susan Capestro,
Ben Hippen, Tracy Hurst, George F. Litterst, and Steve Peha DBA Music Technology Associates. Used by permission.
,s1179,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
,s1180,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
,s1181,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) 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.
,s1182,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback, choose the other option when you return.
dlgBoxMIDIEditorPrefs
524480,11,20,15,323,244,,,MIDI Editor Preferences,8,Helv,OK,203.47,213.05,50.86,12.31,1074,1342373889,128,OK,0,Channels to view,7.47,11.61,308.42,166.85,1068,1342177287,128,Channels to view,0,Base Level (Channels 11-16),42.70,156.06,106.40,10.46,1062,1342308361,128,Base Level (Channels 11-16),0,Extended Level (Channels 1-10),169.68,156.06,117.64,10.46,1063,1342177289,128,Extended Level (Channels 1-10),0,Use MIDI Mapper in MIDI Editor,7.47,188.51,117.45,10.46,1073,1342373891,128,Use MIDI Mapper in MIDI Editor,0,Cancel,261.30,212.64,50.86,12.31,1075,1342242816,128,Cancel,0,Prompt Before Score View,7.47,204.59,96.88,10.46,1160,1342242819,128,Prompt Before Score View,0,,15.89,27.65,276.99,17.48,1179,1342308352,130,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices,0,,15.89,51.94,293.79,27.36,1180,1342177280,130,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).,0,,15.89,83.94,295.66,31.55,1181,1342177280,130,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) 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.,0,,15.47,116.10,290.48,29.54,1182,1342177280,130,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback,0
,s14,Music Mentor LE beta 0.92
Copyright
1992-93 Midisoft Corporation
button OK,b17,TRUE
,s492,Portions of this Product Copyright
1991-1993
Tom Bourne, Chris Bruya, Susan Capestro,
Ben Hippen, Tracy Hurst, George F. Litterst, and Steve Peha DBA Music Technology Associates. Used by permission.
Tom Bourne,0
c 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
T'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.
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
Early Music Melody
Back to Basics
buttonUp
buttonUp
BackToBasics
ackToBasics
Back to Basics
buttonUp
buttonUp
MPrev
buttonUp
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MNext
Main Screen
buttonUp
buttonUp
MMain
Main Screen
:PHYSSIZE
To Session
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buttonUp
ToSession
ession
To Session
o Session
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
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....
(.txt)