![Improvisation in Early Music Author(s): Ben Bechtel Source: Music](http://s1.studyres.com/store/data/012818160_1-d0b7073876c2e61f26d1612356b767f0-300x300.png)
Improvisation in Early Music Author(s): Ben Bechtel Source: Music
... fewer notes played in an interesting rhythmic variation. The ornamentations were inserted so that the composer's original notes on the strong beats were kept intact, while the material in between was varied. Stepwise movement often occurred with larger intervals (usually thirds or fourths) reversing ...
... fewer notes played in an interesting rhythmic variation. The ornamentations were inserted so that the composer's original notes on the strong beats were kept intact, while the material in between was varied. Stepwise movement often occurred with larger intervals (usually thirds or fourths) reversing ...
protestant hymnody: shapenote traditions
... ❖ Revisions always include tunes by living composers ❖ Small evolutions in style present, but generally limited to parameters of 19th century ...
... ❖ Revisions always include tunes by living composers ❖ Small evolutions in style present, but generally limited to parameters of 19th century ...
spring17jazz_IV_1
... Coleman has said that one of the basic ideas of his music is to encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play togeth ...
... Coleman has said that one of the basic ideas of his music is to encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play togeth ...
Visual and Performing Arts Content Standards
... notes, dotted notes, and syncopation (e.g., eighth/quarter/eighth note and eighth-rest/quarter/eighth note). ...
... notes, dotted notes, and syncopation (e.g., eighth/quarter/eighth note and eighth-rest/quarter/eighth note). ...
Clarinet Warm-Up
... throughout the range. Do this to make certain that every note on the clarinet is performed in a long tone fashion every day. I used fifths and twelfths for many years, but found this to be superior as I was forced to listen to each note daily. Notes that had inferior sound quality or were not in tun ...
... throughout the range. Do this to make certain that every note on the clarinet is performed in a long tone fashion every day. I used fifths and twelfths for many years, but found this to be superior as I was forced to listen to each note daily. Notes that had inferior sound quality or were not in tun ...
rhythm / duration / metre
... a) Improvise question and answer phrases b) Accompany a short piece by clapping the pulse c) Echo melodic phrases by singing and playing (steps and leaps) d) Accompany a short piece by clapping the pulse e) Identify when a string is sharp or flat a) Play using crescendo ...
... a) Improvise question and answer phrases b) Accompany a short piece by clapping the pulse c) Echo melodic phrases by singing and playing (steps and leaps) d) Accompany a short piece by clapping the pulse e) Identify when a string is sharp or flat a) Play using crescendo ...
Grade 6 Smart Music GLEs (DOC)
... 1. Perform a Medium/Medium Advanced or Advanced level solo in SmartMusic 2. Perform a sight reading exercise from volume 5 or higher with a minimum score of 90% 3. Perform a Concert Band, String Orchestra or similar at the Medium difficulty level (or higher) with a score of 95% or higher 4. Perform ...
... 1. Perform a Medium/Medium Advanced or Advanced level solo in SmartMusic 2. Perform a sight reading exercise from volume 5 or higher with a minimum score of 90% 3. Perform a Concert Band, String Orchestra or similar at the Medium difficulty level (or higher) with a score of 95% or higher 4. Perform ...
Gamelan Questions
... Saron (a type of metallophone) Gender (Bronze metallophone) Gong Kendang Gending (Drum) Gambang (similar to a xylophone) Suling (type of flute) Celempung (harp) Rebab (2 string fiddle) 2. Gamelan is a type of cyclical music. What does this mean? It repeats in a cycle. In Gamelan the cycle is 16 beat ...
... Saron (a type of metallophone) Gender (Bronze metallophone) Gong Kendang Gending (Drum) Gambang (similar to a xylophone) Suling (type of flute) Celempung (harp) Rebab (2 string fiddle) 2. Gamelan is a type of cyclical music. What does this mean? It repeats in a cycle. In Gamelan the cycle is 16 beat ...
A Derivation of the Rules of Voice-leading from Perceptual Principles
... precise with respect to log-frequency and the frequencies of the two tones are harmonically related. Tonal fusion is next most salient when co-modulation is precise with respect to logfrequency and the frequencies of the two tones are not harmonically related. Finally, tonal fusion is next most sali ...
... precise with respect to log-frequency and the frequencies of the two tones are harmonically related. Tonal fusion is next most salient when co-modulation is precise with respect to logfrequency and the frequencies of the two tones are not harmonically related. Finally, tonal fusion is next most sali ...
An Exhibition as a Tool to Approach Didactical and
... of a musical note and Fourier Series of the function which represents such a note. Making use of an oscilloscope, this room presents analogically the experiment of Galileo (Cohen, 1984), which associates the musical sound to a periodical function and extends it promoting a multi-representation of th ...
... of a musical note and Fourier Series of the function which represents such a note. Making use of an oscilloscope, this room presents analogically the experiment of Galileo (Cohen, 1984), which associates the musical sound to a periodical function and extends it promoting a multi-representation of th ...
The Birth of - Early Music America
... striking. Here, too, the inviolable universal proportions of music – what earlier musicians might have labeled “reality” and “law” – were altered through a rational, repeatable procedure, governing how far pitches ought to stand from one another or how closely “they ought to cohere” – for purely sub ...
... striking. Here, too, the inviolable universal proportions of music – what earlier musicians might have labeled “reality” and “law” – were altered through a rational, repeatable procedure, governing how far pitches ought to stand from one another or how closely “they ought to cohere” – for purely sub ...
Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... The second harmonization also introduces a C in the bass, a C that remains in the third harmonization; it is as if the bass pitch of the second harmonization is the ‘correct’ one, and it is with the third harmonization that the upper voices find their correct pitches. After the ‘blockage’ of the fir ...
... The second harmonization also introduces a C in the bass, a C that remains in the third harmonization; it is as if the bass pitch of the second harmonization is the ‘correct’ one, and it is with the third harmonization that the upper voices find their correct pitches. After the ‘blockage’ of the fir ...
1. Historical definitions.
... In a composition whose structure is determined by rules governing the progress of the basse fondamentale and the treatment of dissonances, two factors can be distinguished, just as in counterpoint at an earlier date. These factors are in themselves abstract, but their combined effect forms the basis ...
... In a composition whose structure is determined by rules governing the progress of the basse fondamentale and the treatment of dissonances, two factors can be distinguished, just as in counterpoint at an earlier date. These factors are in themselves abstract, but their combined effect forms the basis ...
Reading Music: The Basics
... Music does not normally go directly from soft to loud or vice-versa; usually, there is a gradual increase or decrease in volume. The original gradual change symbols are Italian, italicized abbreviations: ...
... Music does not normally go directly from soft to loud or vice-versa; usually, there is a gradual increase or decrease in volume. The original gradual change symbols are Italian, italicized abbreviations: ...
Complete Appendices
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
final paper - Smith College
... using dynamics and/or articulation. The main part of the manipulation of the minuet was done in mozartpart( ) in instruments.k. Having only dabbled in musical composition for the duration of this Digital Music class, I explored upon possible composition methods. After reading the Dramatic Shape sect ...
... using dynamics and/or articulation. The main part of the manipulation of the minuet was done in mozartpart( ) in instruments.k. Having only dabbled in musical composition for the duration of this Digital Music class, I explored upon possible composition methods. After reading the Dramatic Shape sect ...
grade 11 - Department of Basic Education
... • Uses chords progressions from popular tunes for melodies • Uses large jumps/intervals • Irregular phrasing • Abrupt/unexpected changes in melodic contour • The performance generally begins and ends with the main theme by one soloist or by two soloists in unison Rhythm • Uses polyrhythms • The beat ...
... • Uses chords progressions from popular tunes for melodies • Uses large jumps/intervals • Irregular phrasing • Abrupt/unexpected changes in melodic contour • The performance generally begins and ends with the main theme by one soloist or by two soloists in unison Rhythm • Uses polyrhythms • The beat ...
WAYS TO REMEMBER MUSIC THEORY
... Look at your fingers. Is there a pattern there when you play the chord that strikes you. For instance, Ebm7 uses just black notes (the only one that does). You can also associate the chord in question with a certain piece where that chord occurs. Eg. There's an F minor major 7 chord on the second ba ...
... Look at your fingers. Is there a pattern there when you play the chord that strikes you. For instance, Ebm7 uses just black notes (the only one that does). You can also associate the chord in question with a certain piece where that chord occurs. Eg. There's an F minor major 7 chord on the second ba ...
Strand A - Core Knowledge UK
... Understand legato (smoothly flowing progression of notes) and staccato (crisp, distinct notes). Sing unaccompanied, accompanied, and in unison. Recognise harmony; sing rounds and canons; two- and ...
... Understand legato (smoothly flowing progression of notes) and staccato (crisp, distinct notes). Sing unaccompanied, accompanied, and in unison. Recognise harmony; sing rounds and canons; two- and ...
AOSA Curriculum Glossary - American Orff
... and drums/tympani) by using distinct body movements for each timbre in a dance-like way. Beginning with free rhythmic exploration, the conductor gradually creates layered rhythmic patterns which continue to build with changes in tempo, dynamics and rhythm. Gunild Keetman used this technique often an ...
... and drums/tympani) by using distinct body movements for each timbre in a dance-like way. Beginning with free rhythmic exploration, the conductor gradually creates layered rhythmic patterns which continue to build with changes in tempo, dynamics and rhythm. Gunild Keetman used this technique often an ...
Band 8 - I Know How To
... o Follow a conductor when the music has a flexible tempo. o Make no two notes the same weight or intensity. o Understand the big picture of a composition and how all the parts work together. o Recognize and understand cadences as resting points. o Organize my breathing to play the music in the style ...
... o Follow a conductor when the music has a flexible tempo. o Make no two notes the same weight or intensity. o Understand the big picture of a composition and how all the parts work together. o Recognize and understand cadences as resting points. o Organize my breathing to play the music in the style ...
The Diatonic Scale - Metropolitan Cantor Institute
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
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).