rhythm / duration / metre
... Use 2nd finger position to play C and F naturals b) Play a C major scale – 2 octaves c) Play G major scale – 1 octave Read and understand the effects of accidentals b) Read and understand Dc al fine c) Understand how tempi and dynamic markings affect the character of a piece d) Play 01234 on all str ...
... Use 2nd finger position to play C and F naturals b) Play a C major scale – 2 octaves c) Play G major scale – 1 octave Read and understand the effects of accidentals b) Read and understand Dc al fine c) Understand how tempi and dynamic markings affect the character of a piece d) Play 01234 on all str ...
Musical Terms and Definitions
... the section of a composition or movement dedicated to expanding thematic ideas. Many changes of key often take place in this section. gradually get softer alteration of a theme by giving original rhythmic durations half the value (I.e. quarter note becomes an eighth note, etc.) sweetly with energy; ...
... the section of a composition or movement dedicated to expanding thematic ideas. Many changes of key often take place in this section. gradually get softer alteration of a theme by giving original rhythmic durations half the value (I.e. quarter note becomes an eighth note, etc.) sweetly with energy; ...
Dynamics, Articulations, Slurs, Tempo Markings
... Tempo is the speed of the beat, usually given in beats per minute (BPM). Sometimes BPM is labeled M.M. for Maelzel’s metronome. (Johann Maelzel promoted and improved the metronome in the 1800s.) The crescendo/diminuendo examples above show a tempo label of 60 quarter notes per minute, or one quarter ...
... Tempo is the speed of the beat, usually given in beats per minute (BPM). Sometimes BPM is labeled M.M. for Maelzel’s metronome. (Johann Maelzel promoted and improved the metronome in the 1800s.) The crescendo/diminuendo examples above show a tempo label of 60 quarter notes per minute, or one quarter ...
8th Grade Planned Course Guide - Penn
... Demonstrate appropriate diction, dynamics, and articulation within concert repertoire. Perform music with rhythms that contain whole, half, quarter, and eighth, and sixteenth notes in 4/4, 3/4, 2/4, 2/2, and 6/8, as well as complex meters. 7. Perform music in foreign languages. 8. Perform music in m ...
... Demonstrate appropriate diction, dynamics, and articulation within concert repertoire. Perform music with rhythms that contain whole, half, quarter, and eighth, and sixteenth notes in 4/4, 3/4, 2/4, 2/2, and 6/8, as well as complex meters. 7. Perform music in foreign languages. 8. Perform music in m ...
Mentor Schools - Mentor Public Schools
... Andante a. moderately fast and flowing b. moderately slow and flowing c. faster than moderato ...
... Andante a. moderately fast and flowing b. moderately slow and flowing c. faster than moderato ...
Music 181: Inversions of Intervals, Compound Intervals
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
NCEA Level 1 Music (91094) 2011 Assessment Schedule
... bar 44, “the word ‘like’ anticipates the third beat”; bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as ...
... bar 44, “the word ‘like’ anticipates the third beat”; bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as ...
Master Lesson on Paul Creston`s SONATA - Faculty
... Movement three is full of fun and life. Creston’s choice of the word crisp to describe the style is apt. There should be a snap or bite to the notes, although the articulation must be light. (Remember, accents are produced by a sudden air increase, not a heavier tongue!) The mordent-figured quarter ...
... Movement three is full of fun and life. Creston’s choice of the word crisp to describe the style is apt. There should be a snap or bite to the notes, although the articulation must be light. (Remember, accents are produced by a sudden air increase, not a heavier tongue!) The mordent-figured quarter ...
Assessment Schedule – 2011
... bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. Melisma – eg lead vocal, bar 51, “the word ‘green’ is sung to se ...
... bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as slow”. Melisma – eg lead vocal, bar 51, “the word ‘green’ is sung to se ...
Symphony no - Life Learning Cloud
... A sequence first heard in bars 1-4 is played a tone lower, again by the violins. Second half of the 1st subject. Bars 14-16 the woodwind (flute, clarinet and bassoon) enter in octaves, taking the tune from the strings. Bar 16 strong woodwind chords with a dominant pedal. Dominant is the 5th note of ...
... A sequence first heard in bars 1-4 is played a tone lower, again by the violins. Second half of the 1st subject. Bars 14-16 the woodwind (flute, clarinet and bassoon) enter in octaves, taking the tune from the strings. Bar 16 strong woodwind chords with a dominant pedal. Dominant is the 5th note of ...
Guitar Long Term Plan
... Level Three Pupils work together to structure composed and/or improvised pieces ...
... Level Three Pupils work together to structure composed and/or improvised pieces ...
John Cage: Sonatas and Interludes: Sonatas I-III
... So, overall, the binary structure is composed of two sections of 34 and 110½ beats. ...
... So, overall, the binary structure is composed of two sections of 34 and 110½ beats. ...
- MusicTeachers.co.uk
... beat of the bar, which can be seen here on many occasions such as bars 2, 8, and 24 to name but a few. Structurally it can be observed from the analysis table that the number three permeates the music on many different levels. Most obviously there is the time signature (3/2) and the way the piece di ...
... beat of the bar, which can be seen here on many occasions such as bars 2, 8, and 24 to name but a few. Structurally it can be observed from the analysis table that the number three permeates the music on many different levels. Most obviously there is the time signature (3/2) and the way the piece di ...
An Analysis of the Sanctus and Benedictus and Agnus Dei in James
... Expressed in Roman numerals, this would be i - vi - IV - i. This plagal cadential relationship between D and A is far more important throughout the work than any dominant-tonic relationship. The main unifying motive for the work is the ‘Lydian-pentachord’ which makes its first appearance in bar 2 of ...
... Expressed in Roman numerals, this would be i - vi - IV - i. This plagal cadential relationship between D and A is far more important throughout the work than any dominant-tonic relationship. The main unifying motive for the work is the ‘Lydian-pentachord’ which makes its first appearance in bar 2 of ...
On Serial Music
... The development of any new style of music is best appreciated when put into an historic context since musicians, as with any other profession, are living at that time and are naturally influenced by it. At the end of the nineteenth-century, the period that is now called “The Romantic Period” was dra ...
... The development of any new style of music is best appreciated when put into an historic context since musicians, as with any other profession, are living at that time and are naturally influenced by it. At the end of the nineteenth-century, the period that is now called “The Romantic Period” was dra ...
On Interpreting Bach - Engineering Class s
... Method: Metrical Algorithm • If a note at the beginning of a metrical unit last 2 or 3 times the established metrical unit, that unit can be doubled or tripled respectively • The concept of “accent”is extended to metrical units as well as to individual notes. A metrical Unit is “marked for accent” ...
... Method: Metrical Algorithm • If a note at the beginning of a metrical unit last 2 or 3 times the established metrical unit, that unit can be doubled or tripled respectively • The concept of “accent”is extended to metrical units as well as to individual notes. A metrical Unit is “marked for accent” ...
Music Fundamentals - Danielle C. Marine
... Natural : Cancels out a previous accidental Enharmonic Equivalent : a pitch that sound alike but have two different names ...
... Natural : Cancels out a previous accidental Enharmonic Equivalent : a pitch that sound alike but have two different names ...
HOLY CROSS HIGH SCHOOL CHORAL 90, 10, 20, 30 MUSICAL
... Phrasing: Refers to the breaths or "stops" in between notes. Natural phrasing will include "stops" after all periods, commas, semicolons, or colons. Additional phrasing may be necessary for the singer to take catch breaths or to achieve a certain style. It's an excellent idea for singers to sit dow ...
... Phrasing: Refers to the breaths or "stops" in between notes. Natural phrasing will include "stops" after all periods, commas, semicolons, or colons. Additional phrasing may be necessary for the singer to take catch breaths or to achieve a certain style. It's an excellent idea for singers to sit dow ...
ap® music theory 2015 scoring guidelines
... A. Award 1 point for each segment correct in both pitch and rhythm. • A “segment” is any half measure of the original melody, even if occurring over a bar line or beginning on a metrically weak pulse. (In common time or cut time, a segment is any set of two contiguous quarter-note beats; in compound ...
... A. Award 1 point for each segment correct in both pitch and rhythm. • A “segment” is any half measure of the original melody, even if occurring over a bar line or beginning on a metrically weak pulse. (In common time or cut time, a segment is any set of two contiguous quarter-note beats; in compound ...
8.6 Sample Performance Test Rubric
... The tone is characteristic in some registers, uncharacteristic in other registers, and is often any of the following: thin, shrill, weak, blatty, spread, or unfocused ...
... The tone is characteristic in some registers, uncharacteristic in other registers, and is often any of the following: thin, shrill, weak, blatty, spread, or unfocused ...
Introducing Musical STYLE newx
... • HOMOPHONIC (chordal) – one melody with accompaniment. The accompaniment is usually in chords, either block chords or broken chords. In ”block” chords, the notes are all played at the same time, then either held or repeated. Organs can hold repeated notes for an indefinite time, although on stringe ...
... • HOMOPHONIC (chordal) – one melody with accompaniment. The accompaniment is usually in chords, either block chords or broken chords. In ”block” chords, the notes are all played at the same time, then either held or repeated. Organs can hold repeated notes for an indefinite time, although on stringe ...
For Unit 6: Further Musical Understanding
... eighteenth-century by the Italian composer Pergolesi. He had discovered them in a Naples library. The original pieces were written for various solo instruments and small ensembles. It was later discovered that many of the pieces were not in fact by Pergolesi after all. Only the ‘Vivo’ in this select ...
... eighteenth-century by the Italian composer Pergolesi. He had discovered them in a Naples library. The original pieces were written for various solo instruments and small ensembles. It was later discovered that many of the pieces were not in fact by Pergolesi after all. Only the ‘Vivo’ in this select ...
AP Music Theory - Somerset Academy
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...
P5a - Piano Grade 5
... _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ ____________________________________________ ...
... _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ ____________________________________________ ...
POTTER VOICE STUDIO INTERVALS , SCALES , KE Y
... Chromatic Scales are made up entirely of half steps. When ascending, the scale uses sharps, when descending it uses flats. ...
... Chromatic Scales are made up entirely of half steps. When ascending, the scale uses sharps, when descending it uses flats. ...
Time signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are to be contained in each bar and which note value is to be given one beat. In a musical score, the time signature appears at the beginning of the piece, as a time symbol or stacked numerals, such as 11px or 34 (read common time and three-four time, respectively), immediately following the key signature or immediately following the clef symbol if the key signature is empty. A mid-score time signature, usually immediately following a barline, indicates a change of meter.There are various types of time signatures, depending on whether the music follows simple rhythms or involves unusual shifting tempos, including: simple (such as 34 or 44), compound (e.g., 98 or 128), complex (e.g., 54 or 78), mixed (e.g., 58 & 38 or 68 & 34), additive (e.g., 3+2+38), fractional (e.g., 2½4), and irrational meters (e.g., 310 or 524).