New Member School
The Casady School, an independent school located in Oklahoma City, has joined the Theory in a Box Member Schools Program. Welcome to them and their students!
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Happy Birthday Itzhak Perlman!
Theory in a Box wishes a very happy birthday to violinist Itzhak Perlman, who was born on this day in 1945.
Music Theory Word of the Week: modulation/closely related keys
It is quite common for a piece of music to change keys one or more times. This process, called modulation, is actually the primary way that a composer gives a form or structure to a piece. Each time a new key is established, a new section begins.
In order to create a smooth transition between keys, composers usually modulate to closely related keys. In simple terms, this means two keys that contain all or most of the same notes. The most closely related key to any major key is its relative minor (it contains all of the same notes). Other closely related keys are the subdominant, which adds one flat or subtracts one sharp, and the dominant, which adds one sharp or subtracts one flat. So, if a piece is in the key of C major, its relative key is A minor (all of the same notes but different tonic), its subdominant is F major (one flat added), and its dominant is G major (one sharp added). Another way to think of it is that, the closer two keys are in the circle of fifths, the more notes they have in common, making them more closely related.
Not sure what subdominant and dominant mean? Check out the Theory in a Box chapter on Triads.
Music Theory Word of the Week: Accents (dynamic, tonic, agogic)
Generally speaking, an accent in music refers to an emphasis placed on a specific note. This emphasis can come about by action of the performer or it can be inherent in the musical line. Below are the three primary types of accents:
A dynamic accent is the most common form, in which a note is played at a louder volume in order to add emphasis. This is usually indicated by an accent mark (>):
A tonic accent is the result of pitch rather than loudness, usually a note being significantly higher or lower in pitch than the other notes around it:
An agogic accent is an emphasis by way of note length, most often created by giving a note a bit of extra time in performance. A typical example is to prolong the downbeat of a measure or the first note of a melody in order to give it extra weight.
New Member School
Welcome to Pulliam Studios from Las Vegas, Nevada. They have joined as a Theory in a Box member school.
View the complete list of member schools.
Music Theory Word of the Week: Timbre
The term timbre refers to the tone quality produced by a specific instrument or playing technique. The bassoon has a deep and rich tone quality, for example, while the oboe's sound is more focused and penetrating. As another example, think of the difference in the sound of a French horn versus that of a trumpet. The horn typically sounds rounder and more mellow than the piercing and bright sound of the trumpet. Simply speaking, timbre is the unique tone color that gives each instrument its own sound. These differences in timbre are determined by the material used to construct an instrument, the shape of the instrument, as well as how the sound is produced (Do you blow into the instrument? Pluck it? Strike it with a hammer?)
In many cases, the timbre of an instrument can be altered by changing the way in which it is played, such as when a mute is placed in a trumpet bell, when a harder or softer mallet is used to strike the timpani, or when a singer changes the shape of the mouth.
New Member School
Our newest Theory in a Box Member School comes to us from Gallatin, Tennessee. Volunteer State Community College will adopt the course for use among its music students beginning this summer. Welcome!
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Music Theory Word of the Week: polyphony
If you haven't read the posts about monophony and homophony yet, be sure to take a look below on the page before reading on here. If you've been through them already, then it's time to move on to the next musical texture: polyphony. A polyphonic texture consists of two or more voices that progress independently in rhythm and melodic contour, and is found most commonly in music of the Middle Ages and Renaissance by composers such as Josquin des Prez, William Byrd, and Thomas Tallis. The result of polyphonic composition is often a beautifully ornate and interwoven tapestry of musical lines. As an example, listen to the Sanctus from Missa L'homme armé super voces musicales by Josquin des Prez.
The first few measures are included in notation below. Note how each voice, on its own, is a sufficient and independent musical line.
