Ellen's+Musical+Brain

Hahaha.. I'm just reviewing everything that I have learned in BBA, so I won't forget it!! =)

Unit 1 the variation of the length and accentuation of a series of sounds or other events the lengthening or widening of rhythms, melodies, intervals or chords a musical term used to mean different things in the context of intervals, scales, chords or note values
 * Rhythm **
 * Augmentation **
 * Diminution **

the measurement of a musical line into measures of stressed and unstressed "beats", indicated in Western music notation by a symbol called a time signature a notational convention used in Western musical notation to specify how many beats are in each measure and what note value constitutes one beat 2/2, 2/4 3/4, 3/8 4/2, 4/4 6/8 9/8 12/8 5/8, 7/8, 7/4 a metrical pattern in which two bars in simple triple time (3/2 or 3/4 for example) are articulated as if they were three bars in simple duple time From time to time in music you will notice occasions where the weak part of a beat, or the notes //between// beats, are given special emphasis. This accenting of weak beats is called //syncopation//. It is a very common technique for composers to use, to heighten rhythmic energy and drive. Here is an example of a syncopated passage:
 * Meter **
 * Time Signature **
 * Simple Duple **
 * Simple Triple **
 * Simple Quadruple **
 * Compound Duple **
 * Compound Triple **
 * Compound Quadruple **
 * Asymmetrical Meter **
 * Hemiola **
 * SYNCOPATION **

a thick line frequently used to connect multiple consecutive eighth notes (quavers), or notes of shorter value (indicated by two or more beams), and occasionally rests determine by bar line
 * Beam **
 * Measure **



In a simple time signature, each beat is divided into two equal parts. Typically, therefore, each beat has the value of a non-dotted note. The most common simple time signatures are 2/4, 3/4, and 4/4. The 4 at the bottom indicates that the beat unit is the quarter note or crotchet. For example, 3/4 means three quarter-note beats per measure. In compound time signatures, the main beat is divided into three equal parts (as distinct from the two equal parts in simple time). Compound time signatures are distinguished by an upper number which is commonly 6, 9 or 12. The most common lower number in a compound time signature is 8, meaning the time is beaten in eighth notes (quavers). Unlike simple time, however, compound time uses a dotted note for the beat unit. Consequently, since it is impossible to indicate a dotted note by using a single, non-fractional number, the upper and lower numbers in compound time signatures do not represent the number of beats per bar and the beat unit, as they do in simple time.  the speed or pace of a given piece and usually indicated in beats per minute (BPM) the fastest tempo (168–200 bpm) quick, lively (≈140 bpm) 120 beats/minute walking tempo (76–108 bpm) slow and stately (literally, "at ease") (66–76 bpm) very slow (40–60 bpm), like // lento // deathly slow tempo, slow and solemn Unit 2 shows the relationships among the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More generally, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space.
 * Simple time signatures **
 * The **upper** number indicates //how many beats there are in a bar//;
 * The **lower** number indicates //the note value which represents one beat (the "beat unit")//.
 * 4/4 (quadruple) || // common time // : widely used in most forms of Western classical and popular music. Most common time signature in rock, blues, country, funk, and pop ||
 * 2/2 (duple) || // alla breve //, //cut time//: used for marches and fast orchestral music. Frequently occurs in musical theater. Sometimes called "in 2". ||
 * 4/2 (quadruple) || common in early music; rarer since 1600, although Brahms and other composers used it occasionally. ||
 * 2/4 (duple) || used for polkas or marches ||
 * 3/4 (triple) || used for waltzes, minuets, scherzi, and country & western ballads. ||
 * 3/8 (triple) || also used for the above, but usually suggests higher tempo or shorter hypermeter. ||
 * Compound time signatures**
 * ** Compound time signatures ** ||
 * 6/8 (duple) || double jigs, polkas, fast obscure waltzes, marches and some rock music. ||
 * 9/8 (triple) || "compound triple time", used in triple ("slip") jigs, otherwise occurring rarely (The Ride of the Valkyries and Tchaikovsky's Fourth Symphony are familiar examples.) ||
 * 12/8 (quadruple) || classical music; also common in slower blues, doo-wop and stripper music; also used more recently in rock music. ||
 * Tempo **
 * Presto **
 * Vivace **
 * Allegro **
 * Andante **
 * Adagio **
 * Largo **
 * Grave **
 * Scale **
 * Circle of Fifths **

**b's BEADGCF **
or Ionian scale is one of the diatonic scales. It is made up of seven distinct notes, plus an eighth which duplicates the first an octave higher. In solfege these notes correspond to the syllables "Do, Re, Mi, Fa, Sol, La, Ti, (Do)". a diatonic scale with a third scale degree at an interval of a minor third above the tonic. the first note of a musical scale in the tonal method of musical composition. the second degree or note of a diatonic scale (in other words, immediately "above" the tonic). the third degree of the diatonic scale, being the "middle" note of the tonic triad. the technical name for the fourth tonal degree of the diatonic scale. the fifth degree of the scale. the sixth tonal degree of the diatonic scale a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. the interval between one musical pitch and another with half or double its frequency. is the smallest musical interval commonly used in Western tonal music and it is considered the most dissonant a musical interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. The ** Ionian mode ** is a musical mode of diatonic scale. It was part of the music theory of ancient Greece, and was based around the relative natural scale in C (that is, the same as playing all the 'white notes' of a piano from C to C). An ** Aeolian mode ** formed part of the music theory of ancient Greece, based around the relative natural scale in A (that is, the same as playing all the 'white notes' of a piano from A to A). the key to understanding not only harmonics, but also timbre and the basic functioning of many musical instruments. a series of four tones filling in the interval of a perfect fourth, a 4:3 frequency proportion. In modern usage a tetrachord is any four-note segment of a scale or tone row. a musical scale with five pitches per octave in contrast to an heptatonic (seven note) scale such as the major scale.
 * Major Scale **
 * Minor Scale **
 * Degrees **
 * Tonic **
 * Supertonic **
 * Mediant **
 * Subdominant **
 * Dominant **
 * Submediant **
 * Leading Tone **
 * Octave **
 * Distances **
 * Half Step **
 * Whole Step **
 * Musical Modes (scales) **
 * Ionian and Aeolian **
 * Extras **
 * Harmonic Series - Overtone Series **
 * Tetrachord **
 * Pentatonic Scale **

(to be continued) not done yet!!