A Geometry of Music: Harmony and Counterpoint in the - download pdf or read online

By Dmitri Tymoczko

ISBN-10: 0195336674

ISBN-13: 9780195336672

How is the Beatles' "Help!" just like Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of invoice Evans? and the way do Chopin's works make the most the non-Euclidean geometry of musical chords?
during this groundbreaking paintings, writer Dmitri Tymoczko describes a brand new framework for wondering tune that emphasizes the commonalities between types from medieval polyphony to modern rock. Tymoczko identifies 5 easy musical gains that together give a contribution to the feel of tonality, and exhibits how those positive factors recur during the background of Western song. within the procedure he sheds new gentle on an age-old query: what makes tune sound good?
A Geometry of tune presents an obtainable advent to Tymoczko's innovative geometrical method of track concept. The ebook exhibits find out how to build easy diagrams representing relationships between general chords and scales, giving readers the instruments to translate among the musical and visible geographical regions and revealing amazing levels of constitution in differently hard-to-understand items.
Tymoczko makes use of this theoretical starting place to retell the background of Western track from the 11th century to the current day. Arguing that conventional histories concentration too narrowly at the "common practice" interval from 1680-1850, he proposes in its place that Western song contains a longer universal perform stretching from the past due heart a while to the current. He discusses a bunch of widely used items through quite a lot of composers, from Bach to the Beatles, Mozart to Miles Davis, and plenty of in between.
A Geometry of song is out there to a variety of readers, from undergraduate track majors to scientists and mathematicians with an curiosity in song. Defining its phrases alongside the best way, it presupposes no distinct mathematical historical past and just a uncomplicated familiarity with Western tune concept. The publication additionally comprises routines designed to augment and expand readers' knowing, besides a chain of appendices that discover the technical info of this intriguing new idea.

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Additional info for A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford Studies in Music Theory)

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Lyrico can now write melodies that move freely along this scale, alternating between stable and unstable notes. 1 (a) Confining a melody to the notes one day in a more ornery mood of the C major chord produces large leaps, so it is and decides to use the dissonant necessary to add “passing tones” (b). chromatic cluster {B, C, Df} as his drone. Here the compositional situation is reversed: where the major chord is consonant, and has its notes spread relatively far apart, this chord is very dissonant and has all its notes close together.

Second, while competent language-listeners are typically also competent language-speakers, this is not the case for music: most people enjoy listening to music, while only a few enjoy creating it. Third, even expert listeners lose a large amount of the “signal” in even moderately complicated music. I have had more than three decades of musical training, and yet I—like most other “expert” listeners—would have trouble notating, or recreating at the piano, the notes and rhythms in a ten-second excerpt from an unfamiliar four-voice Baroque fugue.

7 Scale steps provide a means of measuring musical distance. The intervals C-E and E-G are two steps large relative to the diatonic scale (a), two and one steps large relative to the pentatonic scale (b), and four and three steps large relative to the chromatic scale (c). e. the white notes) without suggesting that the note C is special in any way. I use the term “C major” (or “C ionian”) in contexts where C is a tonal center. 8 The music makes use of two scales to create a chromatic macroharmony.

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A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford Studies in Music Theory) by Dmitri Tymoczko

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