Major chord

When analysing music it is important to consider several factors that are vital to the make up of a song. We must consider pitch, harmony, and timbre. Harmony is an important part of a song and can be achieved by playing or singing the intervals in a chord after the root note. Harmonies are often utilized by backing singers and instruments such as guitars to create a thicker or more emphasized sound. Pitch is another important ingredient in a song. The pitch is essentially what frequency the notes are

Pérotin is hailed as a sort of Mozart of his time. He was a scholarly musician and musical innovator . Pérotin is called by many different names: Perotinus – his Latin Name and Perotinus Magnus – Pérotin the Great ; and even “optimus discantor”, or great composer of discant. According to Hussman, Pérotin was a court composer for Notre Dame, but his connection to Notre Dame is not entirely confirmed. It is because of an account by the English traveler Anonymous IV and letters to a Bishop that it is

background in reading music, teaching intervals during rehearsal is another important key to success. The author found it important to teach amateur singers how to obtain the first note in every movement. In the first movement, “Kyrie,” the last chord ends in D major. Sopranos hold the tonic, altos hold the third, tenors hold the fifth, and basses hold the tonic. As tenors are taking the lead on the second movement, “Gloria,” the first note of their part is the tonic of D. It is important to teach the

The slow 12 bar introduction starts with an unusual opening of what seems like the wrong tonality as dominant chords resolve upwards in the first 4 bars. The harmonic progression is very atypical, constantly modulating around the tonic C major by playing chords in the dominant G major, dominant seventh, subdominant F major and relative minor A. This sustains a dominant tension throughout this section. The first symphony is a prominent example of absolute music, which is music written for the beauty

techniques and show the development of Fraser’s music over the past decade. ‘Arithmetic’ (AR) and ‘Kings and Queens’ (KQ) share three similarities with its arranging techniques as both songs use common time 4/4 and a major tonal centre. AR is in the key of B major and KQ is in the key of C major. The songs are played at a moderate tempo; AR is slightly faster at 117 BPM and KQ at 100 BPM. AR does not use the common V-Ch form that many pop songs have; instead it replaces the chorus with a refrain. The

chooses dramatic shifts in music material, unpredictable harmonies, and sudden changes in tempo and rhythm. The song starts with an unusually long piano introduction that lasted 8 measures, gives an idea of the large scale of this song. The rolled chords (mm.1-8) and broken octaves underneath the beautiful melody suggesting Peter’s lute. The vocal line begins with the expressive melody identical to the beginning of the piano introduction. It is characterized by embellishments on words “sind” (to be)

The first is evident in m. 3, when the bass, tenor, and alto sing “Care”, and a c seventh diminished chord is sung. It then breaks off, and is resolved into a B major chord. Nevertheless, dissonance is portrayed in this word again when the soprano joins in at m. 7 and an augmented c triad is sung. This is significant in delineating the sadness of the piece. This first section continues

theme is then repeated, after that there is a sudden change into using a full orchestra. Accents and sequences create an unsettled mood and pushes the music forward. It then builds up in tension until the sound overflows and comes to a stop at the chord of B. A short solo on bassoon re-establishes the calm and undisturbed character, needed for the return of the song ‘Jim Jones.’ The piece Van Diemen’s Land is about Tasmania, formally named Van Diemen’s Land, were all the convicts were sent to pay

Claude Debussy was a leading composer of the early twentieth century known for his impressionistic style and use of non-traditional scales and tonalities as well as chromaticism. Debussy’s Book of Preludes are some of his most well-known and last works for solo piano. Prelude 10, titled “Canope” in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city and Egyptian burial urns. Although only thirty-three measures long, and melodically and rhythmically simple

texture is primarily homophonic in the first movement with seven main changes of sound in the first movement. The structure is based on the traditional Classical Period rondo form. Moravec’s harmonies do not follow traditional chord progressions and are varied by using extended chords, altered dominants, and modal scales. Three modes are used in main melodic sections. The first two are in lydian-dominant mode. The third theme uses octatonic mode or diminished scale, alternating whole and half step pattern