Blank UbD Planning Template
... R: Change pieces as needed. Add pieces for advanced students. Simplify harmonic progressions as required. E: Discuss with students what the sounds of their progressions have to do with the chosen work. Discover whether children can perform to tempo. T: Choose music that suits the capabilities and in ...
... R: Change pieces as needed. Add pieces for advanced students. Simplify harmonic progressions as required. E: Discuss with students what the sounds of their progressions have to do with the chosen work. Discover whether children can perform to tempo. T: Choose music that suits the capabilities and in ...
Bach`s Prelude in E-flat Major, BWV 552I
... Instrumentalists play notes; they are expected to play them as accurately and as beautifully as possible, and so all their attention goes into playing these notes. This can (and often does) lead to impressive results: a note-perfect performance with a beautiful tone, wellcontrolled dynamics, clear a ...
... Instrumentalists play notes; they are expected to play them as accurately and as beautifully as possible, and so all their attention goes into playing these notes. This can (and often does) lead to impressive results: a note-perfect performance with a beautiful tone, wellcontrolled dynamics, clear a ...
Sample Grade 4 Theory Paper
... 7.4 How does the articulation in this piece affect the beats in the bar that are usually strong? ...
... 7.4 How does the articulation in this piece affect the beats in the bar that are usually strong? ...
Jeffrey Perry
... m. 30 after a crescendo to an authentic cadence on the tonic triad, A-flat minor, which for the first time spans both treble and bass registers-the top voice is on A~5, which with the cadential progression B~5-C~5-B~5-G~5 that precedes it in mm. 28-29, represents the only high treble-register pitch ...
... m. 30 after a crescendo to an authentic cadence on the tonic triad, A-flat minor, which for the first time spans both treble and bass registers-the top voice is on A~5, which with the cadential progression B~5-C~5-B~5-G~5 that precedes it in mm. 28-29, represents the only high treble-register pitch ...
Chapter 9 - eacfaculty.org
... 2. Never double the leading tone of the scale. 3. Do not write pitches outside the range of a voice. Keep all four voices within their respected ranges at all times (page 203). 4. Avoid the melodic augmented second (A2) and fourth (A4) in all voices. ...
... 2. Never double the leading tone of the scale. 3. Do not write pitches outside the range of a voice. Keep all four voices within their respected ranges at all times (page 203). 4. Avoid the melodic augmented second (A2) and fourth (A4) in all voices. ...
- Anything Goes
... jazz chords. Teachers can use ideas such as: • Comparison of the two songs: i. What melodic devices are used in each and how do they differ? e.g. “Night” is a descending chromatic scale, whereas “Gabriel” uses equal amounts of descending and ascending lines, with a lot of perfect 4ths and mi ...
... jazz chords. Teachers can use ideas such as: • Comparison of the two songs: i. What melodic devices are used in each and how do they differ? e.g. “Night” is a descending chromatic scale, whereas “Gabriel” uses equal amounts of descending and ascending lines, with a lot of perfect 4ths and mi ...
Concepts for the Music Theory Sections of the Graduate Preliminary
... Retrogression (going backward in a progression) Improper Doubling (usually double either root or 5th--never double tendency tones) Acceptable voice-leading: - keep each voice in its proper range (soprano=middle c' to g" [top space of treble clef] ) (alto= g to d') (tenor=c to g' [3rd ledger line abo ...
... Retrogression (going backward in a progression) Improper Doubling (usually double either root or 5th--never double tendency tones) Acceptable voice-leading: - keep each voice in its proper range (soprano=middle c' to g" [top space of treble clef] ) (alto= g to d') (tenor=c to g' [3rd ledger line abo ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
lhs music theory homework 5b.389-446
... When moving from a triad in root position to one in first inversion, do the following. d. Move INTO the doubled tones in contrary, oblique, or (rarely) similar motion to the nearest chord tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which ...
... When moving from a triad in root position to one in first inversion, do the following. d. Move INTO the doubled tones in contrary, oblique, or (rarely) similar motion to the nearest chord tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which ...
Orchestra Final Exam Study Sheet
... Russian composers; emphasis on ‘feelings’; Tchaikovsky wrote “The Nutcraker”! Senza Sordino- without the mute/take mute off Simile- to continue in the same manner Slur- curved line that connects two or more notes that are different Soli- entire section plays an important “solo” part Solo- only one p ...
... Russian composers; emphasis on ‘feelings’; Tchaikovsky wrote “The Nutcraker”! Senza Sordino- without the mute/take mute off Simile- to continue in the same manner Slur- curved line that connects two or more notes that are different Soli- entire section plays an important “solo” part Solo- only one p ...
Sample Grade 4 Theory Paper
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
MUSIC 111 Class Notes 2
... • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
... • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
Revision Pack for: MUSIC AS
... Tutti an Italian word literally meaning all or together, for the whole orchestra as opposed to the Walking soloist bass a left-hand accompaniment consisting of a continuous rhythm of four beats To the measure, usually with a repetitive melodic pattern. Unison two or more musical parts sounding the ...
... Tutti an Italian word literally meaning all or together, for the whole orchestra as opposed to the Walking soloist bass a left-hand accompaniment consisting of a continuous rhythm of four beats To the measure, usually with a repetitive melodic pattern. Unison two or more musical parts sounding the ...
20120080225201157740
... Duration – The length of time a note is sounded (or silence). The shape of each note determines the duration i.g. quarter notes, eighth notes, whole notes, half notes, quarter rests, etc… Melody – The main “tune” of a composition. A tune; a succession of tones comprised of mode, rhythm, and pitches ...
... Duration – The length of time a note is sounded (or silence). The shape of each note determines the duration i.g. quarter notes, eighth notes, whole notes, half notes, quarter rests, etc… Melody – The main “tune” of a composition. A tune; a succession of tones comprised of mode, rhythm, and pitches ...
The Elements of Music
... • The arrangement of these building blocks determines the color, texture, and form of every musical composition. ...
... • The arrangement of these building blocks determines the color, texture, and form of every musical composition. ...
study guide
... CHORALE- Homophonic choral work began in Baroque era. PHRASE- Musical statement or idea. COUNTERPOINT- Melody & Harmony moving in opposite directions. (contrary motion) MOLTO- Term used to magnify musical terms (much). SUITE- Work based on several related themes. AUGMENTED- interval made ½ step, lar ...
... CHORALE- Homophonic choral work began in Baroque era. PHRASE- Musical statement or idea. COUNTERPOINT- Melody & Harmony moving in opposite directions. (contrary motion) MOLTO- Term used to magnify musical terms (much). SUITE- Work based on several related themes. AUGMENTED- interval made ½ step, lar ...
chap3 hw Compute the Frequencies of the Notes of the C
... (a) Explain why the ratio of the frequencies of successive notes must be 2 1/12 . (b) Make a table of the frequencies of the tones of the octave beginning with A-440 and ending at A-880. Recall that A-440 is the A above middle C (note #49) which is tuned to 440 Hz. (c) The notes (from part (b)) on a ...
... (a) Explain why the ratio of the frequencies of successive notes must be 2 1/12 . (b) Make a table of the frequencies of the tones of the octave beginning with A-440 and ending at A-880. Recall that A-440 is the A above middle C (note #49) which is tuned to 440 Hz. (c) The notes (from part (b)) on a ...
Music Vocabulary Lists Year 1
... Romantic - A period in history during the 18th and early 19th centuries where the focus shifted from the neoclassical style to an emotional, expressive, and imaginative style. Root - The principal note of a triad. Rubato - An important characteristic of the Romantic period. It is a style where the s ...
... Romantic - A period in history during the 18th and early 19th centuries where the focus shifted from the neoclassical style to an emotional, expressive, and imaginative style. Root - The principal note of a triad. Rubato - An important characteristic of the Romantic period. It is a style where the s ...
View printable PDF of 6.3 Analyzing Diatonic Modes
... Parallel approach: This scale is E major with the seventh step lowered (D natural), so it is mixolydian. ...
... Parallel approach: This scale is E major with the seventh step lowered (D natural), so it is mixolydian. ...
prelude
... same number of half and whole steps. a. true b. false [a] 20. The arrangement of half and whole steps is the same in both the major and minor scales. a. true b. false [b] 21. The tonic is the __________ note of a diatonic scale. a. first b. second c. fifth d. last [a] ...
... same number of half and whole steps. a. true b. false [a] 20. The arrangement of half and whole steps is the same in both the major and minor scales. a. true b. false [b] 21. The tonic is the __________ note of a diatonic scale. a. first b. second c. fifth d. last [a] ...
Farmington High School Music Department
... A natural division of a melodic line, comparable to a sentence in language. Phrasing is an essential component in the expressive nature of music. Rhythm Everything which refers to the temporal quality (duration) of a musical sound. It is considered along with harmony and melody (motion) one of the t ...
... A natural division of a melodic line, comparable to a sentence in language. Phrasing is an essential component in the expressive nature of music. Rhythm Everything which refers to the temporal quality (duration) of a musical sound. It is considered along with harmony and melody (motion) one of the t ...
Harmonic Analysis 1: Homophonic Texture
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...