Balinese Kecak Vox
For the vocalization element of our piece, we can use various rhythmic patterns of the "kecak" to create a dense texture that would sit beneath the keys. Our use of non-sensible sounds can vary, and switch up throughout the track to add variety. Listen to the link above and pay attention to the different sounds produced with only vocalization. If we can execute this in a similar manner, and in harmony with the boomwhackers-- I think we will have a hit.
Tuesday, April 30, 2013
Sunday, April 28, 2013
Music for 15 Musicians?
I've been imagining a group project or projects you/we can do in our last two weeks. We have only 5 more classes together, since classes end on Thursday next week.
We had a very interesting time exploring the melodic structure of "Amazing Grace" and simple harmonies that can fit with it. That's a very Western (as in European/American) style of music. Here are a couple of clips of music that is very American, but inspired by the repetitions in African music in particular.
I like the clip below because it is people your age doing something absolutely extraordinary. And I think we could create some music inspired by this slowly-changing and deceptively simple music.
Unfortunately the window on my iPad is going crazy and won't let me post anything the video, so if after posting it I can't add by editing the post, I'll do another. It's also not showing the video in the preview window, so it you don't see it, it's here: http://youtu.be/CHVMVDhC-UA.
That's a promo video for a CD of a performance by college-age musicians. There's a full performance here: http://youtu.be/ZXJWO2FQ16c. Watch the first clip and then a chunk of the second, and POST A COMMENT about your reaction.
What I'm imagining is using a combination of drums, pianos, voices, and boomwhackers.
We had a very interesting time exploring the melodic structure of "Amazing Grace" and simple harmonies that can fit with it. That's a very Western (as in European/American) style of music. Here are a couple of clips of music that is very American, but inspired by the repetitions in African music in particular.
I like the clip below because it is people your age doing something absolutely extraordinary. And I think we could create some music inspired by this slowly-changing and deceptively simple music.
Unfortunately the window on my iPad is going crazy and won't let me post anything the video, so if after posting it I can't add by editing the post, I'll do another. It's also not showing the video in the preview window, so it you don't see it, it's here: http://youtu.be/CHVMVDhC-UA.
That's a promo video for a CD of a performance by college-age musicians. There's a full performance here: http://youtu.be/ZXJWO2FQ16c. Watch the first clip and then a chunk of the second, and POST A COMMENT about your reaction.
What I'm imagining is using a combination of drums, pianos, voices, and boomwhackers.
Friday, April 19, 2013
About the homework for 4/21
I was SHOCKED to discover some of you haven't been doing your homework when I haven't been collecting it. So NO MORE MR. NICE GUY.
So . . . . I will collect and grade the homework due Monday (which I just emailed you) AND your analyzed copy of "Amazing Grace." (See previous posts.)
Have a great weekend otherwise!
Thursday, April 18, 2013
Clarification/Review of Homework for Friday 4/19
Your homework for tomorrow (Friday 4/19), as was announced in class, is to:
1) Compose a one-measure, two part set of complimentary rhythms (like we did in class Wednesday, but with two parts rather than four). Since you are notating rhythms only, you can write this on any kind of paper--it does not have to be staff paper.
2) In your copy of the harmonized version of Amazing Grace (if you lost it, there's a link to it in the previous post), add the superscript numbers which indicate inversions for those chords which are inverted (i.e., the root of the chord is not in the bass, the lowest-sounding note).
Remember, for a first-inversion triad-based chord, put a superscript "6" after the Roman numeral. For a second-inversion triad-based chord, it's a 6 over a 4. (You can see better in the video.) When typing in a program where superscript numbers aren't available, or stacking numbers isn't a possibility, things are often written like this" I 6 (for a first inversion I chord) and I 6/4 (for a second inversion I chord).
For 7th chords, the numbering for inversions is different, because the intervals are different, given that seventh above the root makes for additional intervals.
Using V7 chords as an example, the we label inversions as follows:
1) Compose a one-measure, two part set of complimentary rhythms (like we did in class Wednesday, but with two parts rather than four). Since you are notating rhythms only, you can write this on any kind of paper--it does not have to be staff paper.
2) In your copy of the harmonized version of Amazing Grace (if you lost it, there's a link to it in the previous post), add the superscript numbers which indicate inversions for those chords which are inverted (i.e., the root of the chord is not in the bass, the lowest-sounding note).
Remember, for a first-inversion triad-based chord, put a superscript "6" after the Roman numeral. For a second-inversion triad-based chord, it's a 6 over a 4. (You can see better in the video.) When typing in a program where superscript numbers aren't available, or stacking numbers isn't a possibility, things are often written like this" I 6 (for a first inversion I chord) and I 6/4 (for a second inversion I chord).
For 7th chords, the numbering for inversions is different, because the intervals are different, given that seventh above the root makes for additional intervals.
Using V7 chords as an example, the we label inversions as follows:
- V7 (root position)
- V6/5 (1st inversion, 3rd in the bass)
- V4/3 (2nd inversion, 5th in the bass)
- V2 (3rd inversion, 7th in the bass)
Monday, April 15, 2013
For Wed 4/17: Analyzing an "Amazing Grace" arrangement
As I explained in class, for Wednesday you are taking the first steps in doing a harmonic analysis (i.e., figure out and labeling the chords) of a fully written-out piece. In this case, it's an arrangement of "Amazing Grace." If you weren't in class, or misplaced your copy, it's available here.
In this case, many of the chords are not written as tightly-packed, or "closed position," triads and seventh chords; most of the time they are more spread out, in what music theory people call "open" position. They use the same notes, but they are just spread out.
In the chords which are based on triads but have four notes, one note of the triad is doubled. In the very first chord, for example, there are two Gs in the bass clef part (which would be played with the left hand by a keyboard player). It's a G chord, so we say "the root is doubled."
Here's an explanation of close(d) and open position chords:
Your tasks:
On the "Amazing Grace" arrangement,
1) Write the pop chord symbols above the treble-clef staff: Determine what each chord is, and write the pop chord symbol above the treble clef. When the chord changes, write a new symbol. If only the spacing changes, you don't need to write a new symbol. if the inversion changes, write a new symbol, using a slash chord as necessary.
2) Write in the Roman numerals below the bass-clef staff. You'll have already determined the root of each chord. Under the bass-clef staff, write the Roman numeral that corresponds to the scale degree of the root of the chord. Watch the video for clarification.
Watch this if you are confused:
In this case, many of the chords are not written as tightly-packed, or "closed position," triads and seventh chords; most of the time they are more spread out, in what music theory people call "open" position. They use the same notes, but they are just spread out.
In the chords which are based on triads but have four notes, one note of the triad is doubled. In the very first chord, for example, there are two Gs in the bass clef part (which would be played with the left hand by a keyboard player). It's a G chord, so we say "the root is doubled."
Here's an explanation of close(d) and open position chords:
Your tasks:
On the "Amazing Grace" arrangement,
1) Write the pop chord symbols above the treble-clef staff: Determine what each chord is, and write the pop chord symbol above the treble clef. When the chord changes, write a new symbol. If only the spacing changes, you don't need to write a new symbol. if the inversion changes, write a new symbol, using a slash chord as necessary.
2) Write in the Roman numerals below the bass-clef staff. You'll have already determined the root of each chord. Under the bass-clef staff, write the Roman numeral that corresponds to the scale degree of the root of the chord. Watch the video for clarification.
Watch this if you are confused:
Sunday, April 7, 2013
Inverting triads and 7th chords (for M 4/8/13)
Hui--
Just sent you the homework. In addition to writing some root-position triads and seventh chords, you get to label some first inversion chords using the "slash chord" system used in pop and jazz notation, and write some first-inversion chords as well.
Remember, a first-inversion chord is one where the lowest note sounding (and/or written) is the third of the chord. We call the lowest note sounding the "bass" note, so we also say, "the third is in the bass."
In the slash chord notation system, the chord is labeled just as we have been doing, followed by a slash, then the note in the bass. For this assignment, the third is always in the bass.
So a C major chord in the first inversion is written as C/E. It actually makes a lot of sense.
A G7 chord (G-B-D-F) in the first inversion (B-D-F-G) is written as G7/B. Or if you have superscripting easily available, G 7/B.
Videos!
Writing first inversion triads and seventh chords:
Clarifying slash chord notation:
Just sent you the homework. In addition to writing some root-position triads and seventh chords, you get to label some first inversion chords using the "slash chord" system used in pop and jazz notation, and write some first-inversion chords as well.
Remember, a first-inversion chord is one where the lowest note sounding (and/or written) is the third of the chord. We call the lowest note sounding the "bass" note, so we also say, "the third is in the bass."
In the slash chord notation system, the chord is labeled just as we have been doing, followed by a slash, then the note in the bass. For this assignment, the third is always in the bass.
So a C major chord in the first inversion is written as C/E. It actually makes a lot of sense.
A G7 chord (G-B-D-F) in the first inversion (B-D-F-G) is written as G7/B. Or if you have superscripting easily available, G 7/B.
Videos!
Writing first inversion triads and seventh chords:
Clarifying slash chord notation:
Thursday, April 4, 2013
Videos for Homework for F 4-5
I sent you the homework for tomorrow (Fri. 4/5) earlier this afternoon. In it, you're labeling and writing triads, as you did for Wednesday, and also 7th chords, which we learned about on Wednesday.
We're dealing with only one form of 7th chords at this point--a major triad, with an additional note a minor third above the fifth, which is also a minor 7th above the root. This is called a "major-minor" 7th chord, because it is a major triad with a minor seventh (above the root. It is also called a "dominant 7th" chord, because it is the type of 7th chord that occurs when one stacks thirds on the 5th note (i.e., the dominant) of a major scale.
Here's a video on these 7th chords:
We also are starting to deal with the phenomenon of "inverted" triads (other chords get inverted, too). We say a chord is inverted when a note other than the root is the lowest-sounding note. In the homework, there are a series of triads where I've written the triad so the 3rd is on the bottom, with the 5th immediately above it, and then the root a P4 above the 5th.
In the homework, all you need to do is rewrite the triad so the root is on the bottom, and then label the triad. What you're doing, then, is "deinverting" the triad. Here's an explanation if you need one:
We're dealing with only one form of 7th chords at this point--a major triad, with an additional note a minor third above the fifth, which is also a minor 7th above the root. This is called a "major-minor" 7th chord, because it is a major triad with a minor seventh (above the root. It is also called a "dominant 7th" chord, because it is the type of 7th chord that occurs when one stacks thirds on the 5th note (i.e., the dominant) of a major scale.
Here's a video on these 7th chords:
We also are starting to deal with the phenomenon of "inverted" triads (other chords get inverted, too). We say a chord is inverted when a note other than the root is the lowest-sounding note. In the homework, there are a series of triads where I've written the triad so the 3rd is on the bottom, with the 5th immediately above it, and then the root a P4 above the 5th.
In the homework, all you need to do is rewrite the triad so the root is on the bottom, and then label the triad. What you're doing, then, is "deinverting" the triad. Here's an explanation if you need one:
Tuesday, April 2, 2013
Homework for W 4/3: Triads
I've emailed you the homework for Wednesday. In it you'll first identify 10 triads, using the pop chord symbols (explained on the sheet, below, and in the video).
- Write down the name of the root (the bottom note) first, using a capital letter and a sharp or flat sign as needed.
- Then determine what the quality of the triad is. If it's major, just leave the capital letter. If it's minor, add a "m." If it's diminished, add a superscript "o." If it's augmented, a superscript "+." (See the video, below, and the homework sheet itself.)
Interval: TWO notes
- harmonic interval: two notes played/sung simultaneously
- melodic interval: played sung one after another
Chord: three or more notes played or sung simultaneously
Triad: a chord that
- has three notes
- is constructed with thirds
Root: the bottom note of a triad
Third: the middle note of a triad, a third above the root
Fifth: the top note of a triad, a fifth above the root (and a third above the third!)
Major triad:
- M3 from root to third
- m3 from third to fifth
- P5 from root to fifth
- pop chord symbol: name of root (capital letter) ex: D or F#
Minor triad
- m3 from root to third
- M3 from third to root
- P5 from root to fifth
- pop chord symbol: name of root (capital) plus lower case m. Ex: Dm, F#m
Diminished triad:
- m3 from root to third
- m3 from third to 5th
- d5 from root to 5th
- pop chord symbol: name of root (capital letter) plus superscript o. Ex: Do, F#o.
Augmented triad:
- M3 from root to third
- M3 from third to fifth
- A# from root to fifth
- pop chord symbol: name of root (capital letter) plus superscript +. Ex: D+, F#+.
Videos:
Review of triads:
Identifying triads:
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