![NCEA Level 1 Music (91094) 2014 Assessment Schedule](http://s1.studyres.com/store/data/009216893_1-ab94f38d577fcbd4ce5fb1efd904ef7e-300x300.png)
NCEA Level 1 Music (91094) 2014 Assessment Schedule
... Describes TWO ways the vocal melody is varied, AND for BOTH, identifies the bar number and underlined musical element. ...
... Describes TWO ways the vocal melody is varied, AND for BOTH, identifies the bar number and underlined musical element. ...
SCALE CITY The Road to Proportional Reasoning: Belle of
... • The notes of a musical scale can be described mathematically. • A note an octave higher has twice the frequency of its lower counterpart. The ratio of the higher note’s frequency to the lower note’s frequency is 2:1. • The relationships between notes can be described using ratios. • The length ...
... • The notes of a musical scale can be described mathematically. • A note an octave higher has twice the frequency of its lower counterpart. The ratio of the higher note’s frequency to the lower note’s frequency is 2:1. • The relationships between notes can be described using ratios. • The length ...
The Elements of Music
... Instruments without pitch: percussive instruments such as the snare drum, bass drum (can be pitched), brake drum, tambourine, jingle bells, etc. ...
... Instruments without pitch: percussive instruments such as the snare drum, bass drum (can be pitched), brake drum, tambourine, jingle bells, etc. ...
FUNDAMENTAL HARMONY Chromatically
... contains the chord: G$ - B$ - C - E@ - this is a French Augmented 6th chord in the new key B$ major (it has modulated to the dominant for the arrival of the second subject). Appropriate to use the French Augmented chord given the background of the symphony. ...
... contains the chord: G$ - B$ - C - E@ - this is a French Augmented 6th chord in the new key B$ major (it has modulated to the dominant for the arrival of the second subject). Appropriate to use the French Augmented chord given the background of the symphony. ...
Background Tone Test Interval Test Hypotheses Procedure Findings
... Pitch in Language and Music • Language and music both use pitch (frequency) in the form of lexical tones (Figure 1) and intervals (Figure 2).1 • Lexical tone is unfamiliar and hard to learn for speakers of English and other non-tonal languages.1 • Musicians are better than non-musicians at many perc ...
... Pitch in Language and Music • Language and music both use pitch (frequency) in the form of lexical tones (Figure 1) and intervals (Figure 2).1 • Lexical tone is unfamiliar and hard to learn for speakers of English and other non-tonal languages.1 • Musicians are better than non-musicians at many perc ...
to file about classical music.
... continuo; in the Classical world, all parts were noted specifically, though not always notated, as a matter of course, so the word "obbligato" became redundant. By 1800, the term was virtually extinct, as was the practice of conducting a work from the keyboard. The changes in economic situation just ...
... continuo; in the Classical world, all parts were noted specifically, though not always notated, as a matter of course, so the word "obbligato" became redundant. By 1800, the term was virtually extinct, as was the practice of conducting a work from the keyboard. The changes in economic situation just ...
- Kingston University Research Repository
... experimental than its predecessor, which is largely achieved through the use of natural upper harmonics in the horns; the natural horn quartet is often pitched in different keys a semitone apart. This has the consequence that many of the horns’ pitches are not ‘in tune’ with the rest of the orchest ...
... experimental than its predecessor, which is largely achieved through the use of natural upper harmonics in the horns; the natural horn quartet is often pitched in different keys a semitone apart. This has the consequence that many of the horns’ pitches are not ‘in tune’ with the rest of the orchest ...
Vivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3
... string group). Often the same player would be used for both. All the continuo players played from a bass line. The keyboard player or lutenist improvised chords based on the figured bass line. The figures were a shorthand system guiding the player as to which chords to use (see notes on harmony). So ...
... string group). Often the same player would be used for both. All the continuo players played from a bass line. The keyboard player or lutenist improvised chords based on the figured bass line. The figures were a shorthand system guiding the player as to which chords to use (see notes on harmony). So ...
Movement I (Largo) – overall comment
... The phrasing of the 2nd arioso is quite regular and falls into 3x 8 bars. Phrase 1 (bar 55/Fig. 4): the melody in violin 1 is extremely plaintive and closely resembles that heard at Fig. 2, this time it outlines a tritone (Eª down to B¨). The Eª brings the welcome flavour of a major tonality, howe ...
... The phrasing of the 2nd arioso is quite regular and falls into 3x 8 bars. Phrase 1 (bar 55/Fig. 4): the melody in violin 1 is extremely plaintive and closely resembles that heard at Fig. 2, this time it outlines a tritone (Eª down to B¨). The Eª brings the welcome flavour of a major tonality, howe ...
Music Theory Unplugged Functional Harmony
... leading tone resolution there is still a strong resolution tendency. To conclude although we have built another type of chord on the seventh degree it is quite acceptable to use these types of chords in contemporary music practice. There are other non-diatonic chords commonly used in contemporary mu ...
... leading tone resolution there is still a strong resolution tendency. To conclude although we have built another type of chord on the seventh degree it is quite acceptable to use these types of chords in contemporary music practice. There are other non-diatonic chords commonly used in contemporary mu ...
12 Music Hacks
... easy, as there are a mere twelve notes in all music. Every element of theory has been used to write songs, and every song has theory behind it, so let’s go backstage and get behind the scenes to find out how it all works. Right, please follow me… ...
... easy, as there are a mere twelve notes in all music. Every element of theory has been used to write songs, and every song has theory behind it, so let’s go backstage and get behind the scenes to find out how it all works. Right, please follow me… ...
pptx
... • Beat – underlying even pulse common in many types of music • Range typical of that given on a metronome frequency 30 to 200 beats/minute OR 0.5-4 Hz periods between 250ms and few seconds. For clicks closer together than 100 ms, they run together. Separated longer than a few seconds we don’t feel t ...
... • Beat – underlying even pulse common in many types of music • Range typical of that given on a metronome frequency 30 to 200 beats/minute OR 0.5-4 Hz periods between 250ms and few seconds. For clicks closer together than 100 ms, they run together. Separated longer than a few seconds we don’t feel t ...
From Voice to Keyboard - Pavia University Press
... For instance, motive A can be placed against CF opportunities number 1, 2, and 3 (a rising whole step, a falling minor third, and a rising minor third). Lusitano does not take advantage of every one of these, so he must have some other formal considerations in mind. This piece exemplifies the princi ...
... For instance, motive A can be placed against CF opportunities number 1, 2, and 3 (a rising whole step, a falling minor third, and a rising minor third). Lusitano does not take advantage of every one of these, so he must have some other formal considerations in mind. This piece exemplifies the princi ...
Morton Feldman and Abstract Expressionism
... of the first pitches. The next segment with process character (9) takes up the rhythmical feature of two dotted quavers which characterized the previous patterns. The linear process of repetition can be clearly seen also in the section that goes from the start of Segment 11 (b.53) to the end of Segm ...
... of the first pitches. The next segment with process character (9) takes up the rhythmical feature of two dotted quavers which characterized the previous patterns. The linear process of repetition can be clearly seen also in the section that goes from the start of Segment 11 (b.53) to the end of Segm ...
Intervals 4
... two pitches. Being able to recognize intervals at sight will become increasingly important to your study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop y ...
... two pitches. Being able to recognize intervals at sight will become increasingly important to your study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop y ...
Marching Band Performance Groups
... Identifying the sounds of the instruments/voices specific to their ensemble. ...
... Identifying the sounds of the instruments/voices specific to their ensemble. ...
Music Theory - Fairbanks North Star Borough School District
... identify, hear, and write the following cadences in Major and Minor keys: plagal half Phrygian half deceptive analyze Roman numeral and figured bass lines that include: non-harmonic tones Seventh chords Secondary dominant chords identify and hear melodic and rhythmic organization ...
... identify, hear, and write the following cadences in Major and Minor keys: plagal half Phrygian half deceptive analyze Roman numeral and figured bass lines that include: non-harmonic tones Seventh chords Secondary dominant chords identify and hear melodic and rhythmic organization ...
Inspiring your Low Brass Section through
... Let’s face it, sometimes the low brass section in your band is stuck playing some rather dull and uninspired parts. They have become accustomed to counting numerous rests, playing many “footballs,” and taking part in countless unnecessary doublings. This often leads to a general sense of laziness an ...
... Let’s face it, sometimes the low brass section in your band is stuck playing some rather dull and uninspired parts. They have become accustomed to counting numerous rests, playing many “footballs,” and taking part in countless unnecessary doublings. This often leads to a general sense of laziness an ...
How to Play the Chromatic Scale
... progressions. After many decades of musical study, one always goes back to the practice and implementaton of the Chromatic scale due to its ability to “color” or embellish any musical idea effectively. A musician or composer’s ability to think in halfsteps or “chromatically” The Chromatic scale cons ...
... progressions. After many decades of musical study, one always goes back to the practice and implementaton of the Chromatic scale due to its ability to “color” or embellish any musical idea effectively. A musician or composer’s ability to think in halfsteps or “chromatically” The Chromatic scale cons ...
Real-time Melodic Accompaniment System for Indian Music Using
... minimum note duration depends on the musical piece. Hence in our system also there is a provision of incorporating this, i.e. a note is played for a particular time duration which is ...
... minimum note duration depends on the musical piece. Hence in our system also there is a provision of incorporating this, i.e. a note is played for a particular time duration which is ...
Lesson_CCC_-_The_Min..
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
Melody In Carnatic Music
... of the saying, Srutir mata, or the melodic aspects. Any lover of Indian music would have definitely come across the word Raga. Needless to say, this concept is a very ancient one. But what exactly is it and how did it evolve? Before we go into it, we need to know some basic stuff. Let's start with t ...
... of the saying, Srutir mata, or the melodic aspects. Any lover of Indian music would have definitely come across the word Raga. Needless to say, this concept is a very ancient one. But what exactly is it and how did it evolve? Before we go into it, we need to know some basic stuff. Let's start with t ...
Traditional sub-Saharan African harmony
![](https://commons.wikimedia.org/wiki/Special:FilePath/A_pentatonic_scale_in_descending_order.jpg?width=300)
Sub-Saharan harmony is based on the principles of homophonic parallelism (similar chords changing simultaneously), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the ""span process"", ""pedal notes"" (a held note, typically in the bass, around which other parts move), ""Rhythmic harmony"", ""harmony by imitation"", and ""scalar clusters"" (see below for explanation of these terms).