![1. rhythm/duration/metre](http://s1.studyres.com/store/data/001141765_1-8091389ce11573d2630252f50ebb9df3-300x300.png)
1. rhythm/duration/metre
... a) play using legato tonguing b) co-ordinate fingers and tongue in more complex musical passages using single and double tonguing c) tone development – dynamic range exercises over 16 beat phrases a) sing an interval of a minor third above a given note b) identify pitch or rhythmic changes to a nota ...
... a) play using legato tonguing b) co-ordinate fingers and tongue in more complex musical passages using single and double tonguing c) tone development – dynamic range exercises over 16 beat phrases a) sing an interval of a minor third above a given note b) identify pitch or rhythmic changes to a nota ...
File
... organum. The discant was formed by adding a part or parts to the tenor, differing from organum in that the parts moved not only in parallel motion but also in oblique and contrary motion. In discant, all the voices move at approximately the same speed. Discantus: Latin for Discant. Fiddle (Medieval ...
... organum. The discant was formed by adding a part or parts to the tenor, differing from organum in that the parts moved not only in parallel motion but also in oblique and contrary motion. In discant, all the voices move at approximately the same speed. Discantus: Latin for Discant. Fiddle (Medieval ...
Choral_Music_Glossary
... Melisma – a sequence where the pitches change, but the vowel sound stays the same; also known as a “run” Melody – the main musical theme in a musical piece or song Meter – tells you how to count the music; defines rhythmic structure Metronome marking – the number of beats per minute Mezzo-forte – It ...
... Melisma – a sequence where the pitches change, but the vowel sound stays the same; also known as a “run” Melody – the main musical theme in a musical piece or song Meter – tells you how to count the music; defines rhythmic structure Metronome marking – the number of beats per minute Mezzo-forte – It ...
Stuart Greenbaum: Natural Satellite Background I: The gravitational
... In 2013, I was approached by the Classical Guitar Society of Victoria to write a new work for Slava and Leonard Grigoryan. I had an idea to write a piece about moons; and in the ensuing discu ...
... In 2013, I was approached by the Classical Guitar Society of Victoria to write a new work for Slava and Leonard Grigoryan. I had an idea to write a piece about moons; and in the ensuing discu ...
4th 9 weeks
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
Chords, Keys, and Scales - What are they, and
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
image by Hans-Christoph Steiner based on Grey, JM 1979, JASA
... The scale can be stretched The partials can be stretched Here are examples of all 4 combinations -- pure harmonics and normal scale -- scale stretched -- partials stretched -- stretched harmonics and scale 1 octave=2.1 ...
... The scale can be stretched The partials can be stretched Here are examples of all 4 combinations -- pure harmonics and normal scale -- scale stretched -- partials stretched -- stretched harmonics and scale 1 octave=2.1 ...
File
... Occasionally the flute and violin play in thirds. The harpsichord also does this. When the ripieno is playing, the flute and violin sometimes double each other in unison (e.g.bar 33). The bass line in Section B often uses pedals ...
... Occasionally the flute and violin play in thirds. The harpsichord also does this. When the ripieno is playing, the flute and violin sometimes double each other in unison (e.g.bar 33). The bass line in Section B often uses pedals ...
Lecture 06 Part II a little more history of science
... • Most harmonious sound (according to Pythagoras was (L1/L0) = (1/2) • This is called the OCTAVE ...
... • Most harmonious sound (according to Pythagoras was (L1/L0) = (1/2) • This is called the OCTAVE ...
Sample History Placement Exam 2013
... be heard clearly, but not so as to offend the ear,” then why not prepare them in the conventional way, as reason dictates? Now, even if you want dissonances to become consonances, they will always remain the opposite of consonant…. We have reached the point of absurdity, but it is altogether possibl ...
... be heard clearly, but not so as to offend the ear,” then why not prepare them in the conventional way, as reason dictates? Now, even if you want dissonances to become consonances, they will always remain the opposite of consonant…. We have reached the point of absurdity, but it is altogether possibl ...
File - Harris Ac Music
... A scale is simply the structure in which we organise notes. The specific type of scale is determined by the interval relationships (or distance) between the individual notes. The slightest adjustment of a note can change a happy sounding scale into a sad one. For example, a happy sounding major scal ...
... A scale is simply the structure in which we organise notes. The specific type of scale is determined by the interval relationships (or distance) between the individual notes. The slightest adjustment of a note can change a happy sounding scale into a sad one. For example, a happy sounding major scal ...
document
... • Timbre-quality of the sound; tone colour; Sample adjectives are raspy, clear. • Melody- a series of individual notes heard as a coherent unit, which have a specific rhythmic shape. Two identical series of notes will sound completely different without the identical rhythmic arrangement. Some melodi ...
... • Timbre-quality of the sound; tone colour; Sample adjectives are raspy, clear. • Melody- a series of individual notes heard as a coherent unit, which have a specific rhythmic shape. Two identical series of notes will sound completely different without the identical rhythmic arrangement. Some melodi ...
7th Grade Planned Course Guide - Penn
... 8. Identify the following voice parts: soprano, alto, tenor, baritone, and bass; as well as the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally ...
... 8. Identify the following voice parts: soprano, alto, tenor, baritone, and bass; as well as the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally ...
A Periodicity-Based Approach on Harmony Perception Including
... by fractions. They should all have the same, smallest possible denominator n. It corresponds to the overall period length of the harmony, i.e. its harmonicity. Clearly, the best approximation of the frequency ratio x = Fi by a fraction with denominator n is y = [n Fi ]/n. Here, [·] is the rounding f ...
... by fractions. They should all have the same, smallest possible denominator n. It corresponds to the overall period length of the harmony, i.e. its harmonicity. Clearly, the best approximation of the frequency ratio x = Fi by a fraction with denominator n is y = [n Fi ]/n. Here, [·] is the rounding f ...
Test Review - The OCD Musician
... 12. This Question is based on a short excerpt in two sections for Baroque orchestra. Listen to the entire example and determine which of the following elements change in the SECOND section compared to the FIRST SECTION? ...
... 12. This Question is based on a short excerpt in two sections for Baroque orchestra. Listen to the entire example and determine which of the following elements change in the SECOND section compared to the FIRST SECTION? ...
National 5 - Musical Periods and Styles
... (b) Watch the videos of Celtic rock from the PowerPoint and state the names of the instruments common to these examples. ________________________ ______________________________________________________________ (c) State the names of the two instruments associated with Indian music. __________________ ...
... (b) Watch the videos of Celtic rock from the PowerPoint and state the names of the instruments common to these examples. ________________________ ______________________________________________________________ (c) State the names of the two instruments associated with Indian music. __________________ ...
http://circle.adventist.org/files/download/Glossary_Musical_Terms.pdf
... movements, for solo instrument and orchestra. concerto grosso musical form, similar to the concerto, but using a small group of instruments against the full orchestra. conductor the director of a band, choral group, or orchestra who, by means of hand and body motions, coordinates the ensembles’s per ...
... movements, for solo instrument and orchestra. concerto grosso musical form, similar to the concerto, but using a small group of instruments against the full orchestra. conductor the director of a band, choral group, or orchestra who, by means of hand and body motions, coordinates the ensembles’s per ...
Georgian Court University © 2006 The McGraw
... Movement = A section of a complete work that has its own form and degree of independence, conceived as part of the whole; usually separated from other movements by a pause ...
... Movement = A section of a complete work that has its own form and degree of independence, conceived as part of the whole; usually separated from other movements by a pause ...
e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... Analysis before you undertake the writing of the exercises, as they cannot be well done without a good deal of knowledge of both technique and style. Analyze with care the given materials in each exercise in terms of all the musical aspects: scale or pitch collection, harmonic vocabulary, rhythmic o ...
... Analysis before you undertake the writing of the exercises, as they cannot be well done without a good deal of knowledge of both technique and style. Analyze with care the given materials in each exercise in terms of all the musical aspects: scale or pitch collection, harmonic vocabulary, rhythmic o ...
An Analysis of Theme and Variations for Orchestra
... ranges occur in the fourth variation (diminished eighteenth) and the seventh variation (diminished seventeenth). ...
... ranges occur in the fourth variation (diminished eighteenth) and the seventh variation (diminished seventeenth). ...
the big picture: the late middle ages and early
... canon is at the unison for the opening Kyrie, expands the harmonic distance to the second for the Christe, and the third for the final Kyrie. In another Mass, Missa Cuiusvis tone (Mass on Whichever Mode), Ockeghem wrote in such a manner that the notes of the Mass could fall into any mode by changing ...
... canon is at the unison for the opening Kyrie, expands the harmonic distance to the second for the Christe, and the third for the final Kyrie. In another Mass, Missa Cuiusvis tone (Mass on Whichever Mode), Ockeghem wrote in such a manner that the notes of the Mass could fall into any mode by changing ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... 3) excellent pitch memory and relative pitch (not the same as absolute or perfect pitch) 4) a clear awareness of intervals 5) a comfortable and reliable technique 6) a thorough familiarity with the fingerboard 7) an artistic desire to create beautiful sounds 8) sensitivity to melodic and harmonic in ...
... 3) excellent pitch memory and relative pitch (not the same as absolute or perfect pitch) 4) a clear awareness of intervals 5) a comfortable and reliable technique 6) a thorough familiarity with the fingerboard 7) an artistic desire to create beautiful sounds 8) sensitivity to melodic and harmonic in ...
6th Grade Choir NAME__________________________ Quarter 1
... 7. Pitch=Notes are placed on staff to indicate pitch, or how high or low each note sounds. 8. Clef=the symbol at the beginning of the staff that indicates which lines and spaces represent which notes. 9. Treble = A clef that generally indicates notes that sound higher that Middle “C” ( ) 10. Bass=a ...
... 7. Pitch=Notes are placed on staff to indicate pitch, or how high or low each note sounds. 8. Clef=the symbol at the beginning of the staff that indicates which lines and spaces represent which notes. 9. Treble = A clef that generally indicates notes that sound higher that Middle “C” ( ) 10. Bass=a ...
PowerPoint Presentation - The Effects of the Una Corda Pedal on
... behaviors, however the overall effect is the same—differences between the harmonic structures of notes with and without the pedal become magnified as time passes, although in different ways. This effect is consistent throughout the data, however no two notes behave in exactly the same manner. ...
... behaviors, however the overall effect is the same—differences between the harmonic structures of notes with and without the pedal become magnified as time passes, although in different ways. This effect is consistent throughout the data, however no two notes behave in exactly the same manner. ...
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).