Choral Scope and Sequence
... Define and demonstrate proper use of the following tempos: largo, andante, moderato, allegro, and presto Define and demonstrate proper use of the following articulations: staccato, legato, slur, tenuto Demonstrate the proper use of repeat signs with 1st and 2nd endings, D.C. and D.S. al Fine ...
... Define and demonstrate proper use of the following tempos: largo, andante, moderato, allegro, and presto Define and demonstrate proper use of the following articulations: staccato, legato, slur, tenuto Demonstrate the proper use of repeat signs with 1st and 2nd endings, D.C. and D.S. al Fine ...
Here is the ligeti chamber concerto article
... remains the same through the first phrase. As a kind of complementary gesture it is the pitch complexes which are the focus of attention in the second phrase while the timbres are held constant. Figure 4 illustrates the number of active timbres within each of the four families used in the work. The ...
... remains the same through the first phrase. As a kind of complementary gesture it is the pitch complexes which are the focus of attention in the second phrase while the timbres are held constant. Figure 4 illustrates the number of active timbres within each of the four families used in the work. The ...
Mak Yong Music of Malaysia: Negotiating Complex Musical Content
... on the knob with a padded beater; ideally these two pitches are approximately an interval of a third or as large as a fifth apart. Played by one musician, this set of idiophones provides the periodic structure (or gong unit) that serves as the basis of musical form for a song or instrumental piece. ...
... on the knob with a padded beater; ideally these two pitches are approximately an interval of a third or as large as a fifth apart. Played by one musician, this set of idiophones provides the periodic structure (or gong unit) that serves as the basis of musical form for a song or instrumental piece. ...
October 24-28
... LEQ: What are the key components of music and how are they important in other areas of our daily life? Procedure: 1. Opening Activity – Around the World (beats version) 2. Review solfa (Do-Do). What can we do with solfa? 3. Demonstrate the transfer from solfa to treble clef. 4. Teach the treble clef ...
... LEQ: What are the key components of music and how are they important in other areas of our daily life? Procedure: 1. Opening Activity – Around the World (beats version) 2. Review solfa (Do-Do). What can we do with solfa? 3. Demonstrate the transfer from solfa to treble clef. 4. Teach the treble clef ...
Music Theory & Ear Training for Busy Adults
... 6. Relative major and relative minor are a pair of scales, one major and the other a natural minor, which have identical menus of notes, just different roots (starting notes). E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major a ...
... 6. Relative major and relative minor are a pair of scales, one major and the other a natural minor, which have identical menus of notes, just different roots (starting notes). E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major a ...
Cross-cultural hybridity in music composition
... in the thao form. Furthermore, although this may not be the spiral notion to which Ung refers in the title, it nonetheless will prove analytically revealing. Ung applies this spiral concept in three ways. The first is the successive subtraction from short, repeated motives, as in the piano part in m ...
... in the thao form. Furthermore, although this may not be the spiral notion to which Ung refers in the title, it nonetheless will prove analytically revealing. Ung applies this spiral concept in three ways. The first is the successive subtraction from short, repeated motives, as in the piano part in m ...
Transposing Instruments
... It is easier for musicians to play together, talk to each other about music, and share written music with each other, if everyone agrees on the same names for each pitch1 . The most widely used standard is called concert pitch. Used in most genres of Western music2 , concert pitch is usually dened ...
... It is easier for musicians to play together, talk to each other about music, and share written music with each other, if everyone agrees on the same names for each pitch1 . The most widely used standard is called concert pitch. Used in most genres of Western music2 , concert pitch is usually dened ...
Neo-Riemannian Theory and the Analysis of Pop
... Mode, which contains the triads D-, F-, D +, B+ .12 This progression lends itself to numerous diatonic interpretations, four of which are provided in Examples 2(b) through 2(e). Example 2(b) assumes a single key for the progression, D minor. As in much pop-rock music, repetition and metric stre ...
... Mode, which contains the triads D-, F-, D +, B+ .12 This progression lends itself to numerous diatonic interpretations, four of which are provided in Examples 2(b) through 2(e). Example 2(b) assumes a single key for the progression, D minor. As in much pop-rock music, repetition and metric stre ...
Full Text - Discovery Publication
... Firstness are the main ideas of sign as the first trichotomy, namely qualisign, sinsign, and legisign. Qualisign is a sign of with quality, mark melodic qualities of music such as timber. Example in“Azizah” catchy melody performed ( =160, allegro) is a qualisign (quality). Sinsign refers to a mark t ...
... Firstness are the main ideas of sign as the first trichotomy, namely qualisign, sinsign, and legisign. Qualisign is a sign of with quality, mark melodic qualities of music such as timber. Example in“Azizah” catchy melody performed ( =160, allegro) is a qualisign (quality). Sinsign refers to a mark t ...
Stephanie Reusch Paper 2 Composers use several types of non
... developments often are. The first sequence resolves into E major, which resolves to A major, which resolves to d minor, sort of creating a giant descending 5ths macrosequence created from 3 smaller sequences. The goal of this section of a development is to get to a far out point (which seems to be ...
... developments often are. The first sequence resolves into E major, which resolves to A major, which resolves to d minor, sort of creating a giant descending 5ths macrosequence created from 3 smaller sequences. The goal of this section of a development is to get to a far out point (which seems to be ...
An analytical approach to vibraphone performance through the
... Biographical Encyclopedia of Jazz (Oxford University Press, 1999 ), “Lionel Hampton” 289. The New Grove ®Dictionary of Jazz (MacMillan Publishers Limited, 2002), “vibraphone” ...
... Biographical Encyclopedia of Jazz (Oxford University Press, 1999 ), “Lionel Hampton” 289. The New Grove ®Dictionary of Jazz (MacMillan Publishers Limited, 2002), “vibraphone” ...
Glossary of musical terminology
... (sometimes nicknamed "railroad tracks" in reference to their appearance) • chiuso: closed; i.e., muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) • coda: a tail; i.e., a closing section appended to a movement • codetta: a small ...
... (sometimes nicknamed "railroad tracks" in reference to their appearance) • chiuso: closed; i.e., muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) • coda: a tail; i.e., a closing section appended to a movement • codetta: a small ...
Tune Recognition from Melody, Rhythm and Harmony
... versions were played using a digital grand piano sound (Model 1923 Steinway D from the PMI Old Lady sample library), without dynamic changes. The version melody indicated that all notes had the same duration (500 ms) and equal loudness. No hints of time signature or rhythm were given. Melody with ha ...
... versions were played using a digital grand piano sound (Model 1923 Steinway D from the PMI Old Lady sample library), without dynamic changes. The version melody indicated that all notes had the same duration (500 ms) and equal loudness. No hints of time signature or rhythm were given. Melody with ha ...
Comparison of Interval Size in Equal Temperament and Just Tuning
... 2. A second player uses a tuner to adjust the upper note of the Equal Tempered interval (half step, whole step, etc.) up or down by the number of cents indicated in the “Difference” column. A pure beatless Just interval will result. For example: to play a Just tuned major third above C, look in the ...
... 2. A second player uses a tuner to adjust the upper note of the Equal Tempered interval (half step, whole step, etc.) up or down by the number of cents indicated in the “Difference” column. A pure beatless Just interval will result. For example: to play a Just tuned major third above C, look in the ...
to read it in Microsoft Word
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
General Introduction - Web Library of Seventeenth
... tempo than However, there is a distinction between tempo and pacing. Tempo is related to meter, but pacing is related to the size of note values. Therefore the perceived speed of a composition or passage will depend on both the tempo and the note values employed. There can be a wide variety of te ...
... tempo than However, there is a distinction between tempo and pacing. Tempo is related to meter, but pacing is related to the size of note values. Therefore the perceived speed of a composition or passage will depend on both the tempo and the note values employed. There can be a wide variety of te ...
"A History of Pianoforte Pedaling." By David Rowland
... in the same year in which Beethoven composed that Sonata, his Piano Concertos Opp. 15 and 19 and The Quintet for Piano and Woodwinds Op. 16 were published, in all of which he had notated a variety of effects more advanced than continuous raised dampers. Further, all the attempts of which I am aware— ...
... in the same year in which Beethoven composed that Sonata, his Piano Concertos Opp. 15 and 19 and The Quintet for Piano and Woodwinds Op. 16 were published, in all of which he had notated a variety of effects more advanced than continuous raised dampers. Further, all the attempts of which I am aware— ...
2.7MB PDF - The Chicago Guide for Teaching and Learning in the Arts
... engaging with the music they hear because they don’t know how to respond to it. To help students appreciate and evaluate music, give them the vocabulary needed to describe what they hear. Encourage them to listen actively. Also, prepare a set of questions that students can ask themselves every time ...
... engaging with the music they hear because they don’t know how to respond to it. To help students appreciate and evaluate music, give them the vocabulary needed to describe what they hear. Encourage them to listen actively. Also, prepare a set of questions that students can ask themselves every time ...
Musica Ficta and
... when one of the parts proceeds by step, this step will in practice, be a semitone (ex. 1a; if both proceed by step, only one will be a semitone), Several theorists added that these rules should be effected where possible without resort to musica ficta – if the interval or progression can be correcte ...
... when one of the parts proceeds by step, this step will in practice, be a semitone (ex. 1a; if both proceed by step, only one will be a semitone), Several theorists added that these rules should be effected where possible without resort to musica ficta – if the interval or progression can be correcte ...
MTO 1.1: Rothgeb, The Tristan Chord
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
Musical Scales - Rick Bradford Home Page
... This proposed scale achieves two things; (i)a very good approximation to uniform note spacing [by which we mean uniform adjacent note frequency ratios which is really uniform spacing in log(frequency)], and, (ii)it preserves all but one of the notes based on the simple ratios derived above. Moreove ...
... This proposed scale achieves two things; (i)a very good approximation to uniform note spacing [by which we mean uniform adjacent note frequency ratios which is really uniform spacing in log(frequency)], and, (ii)it preserves all but one of the notes based on the simple ratios derived above. Moreove ...
A Player`s Introductory Guide to the Medieval Vielle by Corey Green
... In contrast to what we might read in a twentieth-century manual, Jerome of Moravia's tunings are intended to indicate relative rather than absolute pitches. 2 The same was true in the written vocal music of the era. Though the specific tunings mentioned by Moravia might be one option for one individ ...
... In contrast to what we might read in a twentieth-century manual, Jerome of Moravia's tunings are intended to indicate relative rather than absolute pitches. 2 The same was true in the written vocal music of the era. Though the specific tunings mentioned by Moravia might be one option for one individ ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.