Contents: - Aylsham High School
... used in ‘Yiri’. Yiri uses Monophony, heterophony and Monophony = 1 sound = balaphone solo polyphony. What do these 3 words mean at very start. and where are they used in ‘Yiri’. Heterophony = several instruments playing tunes that are almost the same, but not quite = 2nd part of intro with several b ...
... used in ‘Yiri’. Yiri uses Monophony, heterophony and Monophony = 1 sound = balaphone solo polyphony. What do these 3 words mean at very start. and where are they used in ‘Yiri’. Heterophony = several instruments playing tunes that are almost the same, but not quite = 2nd part of intro with several b ...
Note Reading Guide for VIOLA
... Notes in the spaces: Memory tip for notes written in the spaces: use each note as the first letter of the words in the sentence Green Birds Do Fly. Add the A “above” the staff, and you can make the sentence Grandma Bakes Delicious Fudge Always ...
... Notes in the spaces: Memory tip for notes written in the spaces: use each note as the first letter of the words in the sentence Green Birds Do Fly. Add the A “above” the staff, and you can make the sentence Grandma Bakes Delicious Fudge Always ...
The Four Main Musical Style Periods
... This piece (as most “12-tone” music does) uses more than one “form” of the row. Rows are usually changed by repeating the row backwards (retrograde), inversion (if the first two notes go up by a 5th, then inversion of that would be going down by a 5th), transposition, and a combination of retrograde ...
... This piece (as most “12-tone” music does) uses more than one “form” of the row. Rows are usually changed by repeating the row backwards (retrograde), inversion (if the first two notes go up by a 5th, then inversion of that would be going down by a 5th), transposition, and a combination of retrograde ...
Tone and Voice: A Derivation of the Rules of Voice
... Fifths) Rule. Bass and soprano voices should not approach octaves by similar motion between two parts unless at least one of the parts moves by diatonic step. ...
... Fifths) Rule. Bass and soprano voices should not approach octaves by similar motion between two parts unless at least one of the parts moves by diatonic step. ...
Orchestral Texture and Unison Composition
... composition can be in grouped into some or all of the following elements: • Foreground: the most prominent voice heard; usually the melody • Middleground: supporting countermelodies or contrapuntal voices • Background: accompaniment/harmony including bass voices • Rhythmic: percussive elements Not a ...
... composition can be in grouped into some or all of the following elements: • Foreground: the most prominent voice heard; usually the melody • Middleground: supporting countermelodies or contrapuntal voices • Background: accompaniment/harmony including bass voices • Rhythmic: percussive elements Not a ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
6th Grade Planned Course Guide - Penn
... 9. Perform music in multiple voice parts. 10. Perform music with accompaniment and without accompaniment (a cappella). 11. Perform with other singers to achieve a blended ensemble sound characteristic of the music being performed at the level. C. Describe, analyze, and create music. The student will ...
... 9. Perform music in multiple voice parts. 10. Perform music with accompaniment and without accompaniment (a cappella). 11. Perform with other singers to achieve a blended ensemble sound characteristic of the music being performed at the level. C. Describe, analyze, and create music. The student will ...
storage/MUS001-Quiz Three
... 15. Which of the following statements is not true? A. John Cage invented the prepared piano, a grand piano whose sound is altered by objects such as bolts, screws, rubber bands, pieces of felt, paper, and plastic inserted between the strings of some of the keys. B. During the 1920s and 1930s, Edgard ...
... 15. Which of the following statements is not true? A. John Cage invented the prepared piano, a grand piano whose sound is altered by objects such as bolts, screws, rubber bands, pieces of felt, paper, and plastic inserted between the strings of some of the keys. B. During the 1920s and 1930s, Edgard ...
The Pythagorean Comma The Spiral of Fifths and Equal Temperament
... extra large, rather dissonant and, some say, howled like a wolf. This “wolf fifth” was placed where it could most likely be avoided. The necessity for temperaments arose because of the conflict between the desire to have certain intervals (especially the perfect fifth, the perfect fourth and the maj ...
... extra large, rather dissonant and, some say, howled like a wolf. This “wolf fifth” was placed where it could most likely be avoided. The necessity for temperaments arose because of the conflict between the desire to have certain intervals (especially the perfect fifth, the perfect fourth and the maj ...
I. Listening Skill For each excerpt
... 74. ____ "Repetition, Variation, and Contrast" are terms used when studying the TIMBRE of a work. 75. ____ A "romantic" sensibility stresses an awareness of form and balance. 76. ____ The texture of a musical work will always remain constant all the way through. 77. ______ The proper name of the ins ...
... 74. ____ "Repetition, Variation, and Contrast" are terms used when studying the TIMBRE of a work. 75. ____ A "romantic" sensibility stresses an awareness of form and balance. 76. ____ The texture of a musical work will always remain constant all the way through. 77. ______ The proper name of the ins ...
Montana High School Association Official Adjudication Form
... LH and RH are well-balanced Melody is easily perceived ACCURACY ...
... LH and RH are well-balanced Melody is easily perceived ACCURACY ...
Similarities between Hindustani music and the Western music
... term for six consecutive pitches), beginning on G, C and F (in the F-hexachord Fa is B-flat). In each case, the lowest note of the hexachord is always given the name ‘Ut’. This means that there is always a semitone between Mi and Fa and tones between all Medieval music had a similar system, known as ...
... term for six consecutive pitches), beginning on G, C and F (in the F-hexachord Fa is B-flat). In each case, the lowest note of the hexachord is always given the name ‘Ut’. This means that there is always a semitone between Mi and Fa and tones between all Medieval music had a similar system, known as ...
Focus: Objectives: Key Vocabulary: Identify major and minor scales
... ♣ Evaluate own performance ♣ Reading a melody ♣ Stylistic features of opera ♣ Cultural and historical influences on opera ...
... ♣ Evaluate own performance ♣ Reading a melody ♣ Stylistic features of opera ♣ Cultural and historical influences on opera ...
Theory 9-26 - Introduction to Music Theory
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
File
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... 1650-1900 (described loosely as J.S. Bach to Brahms) during which music functioned according to the concept of tonal harmony; the pre-eminence of key signatures and tonic-dominant harmony. The perceived stability of a complex of two or more sounds: i.e.; notes that sound good together The perceived ...
... 1650-1900 (described loosely as J.S. Bach to Brahms) during which music functioned according to the concept of tonal harmony; the pre-eminence of key signatures and tonic-dominant harmony. The perceived stability of a complex of two or more sounds: i.e.; notes that sound good together The perceived ...
Math and Music Worksheet - The Saga of Mathematics: A Brief History
... numbers, and possible reasons why the 19-tone scale never caught on. 12. In 1918, a Soviet scientist named Leon Theremin invented one of the world's first electronic musical instrument. The “Theremin” as it became known was unlike any other instrument, it had no strings, pipes, or keys, in fact, the ...
... numbers, and possible reasons why the 19-tone scale never caught on. 12. In 1918, a Soviet scientist named Leon Theremin invented one of the world's first electronic musical instrument. The “Theremin” as it became known was unlike any other instrument, it had no strings, pipes, or keys, in fact, the ...
Elements of Music (Word Examples)
... A resting place in a musical phrase-musical punctuation. This melody features four phrases, each of which ends in a cadence. The resting places, or cadences, after the first and third phrases are inconclusive (like a comma in a sentence); those after the second and fourth phrases sound final (like a ...
... A resting place in a musical phrase-musical punctuation. This melody features four phrases, each of which ends in a cadence. The resting places, or cadences, after the first and third phrases are inconclusive (like a comma in a sentence); those after the second and fourth phrases sound final (like a ...
An Incomplete List of Musical Terms
... 43. Slur - A curved line drawn over two or more notes of different pitches, indicating that they are to be executed in a smoothly connected manner without a break. 44. Sostenuto - Sustained ...
... 43. Slur - A curved line drawn over two or more notes of different pitches, indicating that they are to be executed in a smoothly connected manner without a break. 44. Sostenuto - Sustained ...
Like Two Branches - Tsippi Fleischer
... plan the musical structure. It is important to stress: this poetry has been handed down from generation to generation by word of mouth, and the collections published lend themselves to many different interpretations in which I needed to orientate myself. At the time I was becoming familiar with the ...
... plan the musical structure. It is important to stress: this poetry has been handed down from generation to generation by word of mouth, and the collections published lend themselves to many different interpretations in which I needed to orientate myself. At the time I was becoming familiar with the ...
a PDF version of this work.
... chord to prepare tonic harmony, instead of using a dominant triad, as in measures 16-21. Another example of mode mixture is found in measure 94. Chopin places a minor tonic triad in the major key. This not only occludes the distinction between major and minor harmonies, but emphasizes and reinforces ...
... chord to prepare tonic harmony, instead of using a dominant triad, as in measures 16-21. Another example of mode mixture is found in measure 94. Chopin places a minor tonic triad in the major key. This not only occludes the distinction between major and minor harmonies, but emphasizes and reinforces ...
Hot Cross Buns - TeachingResourcesandLinks
... Movement. We also need to keep the language consistent –using the words “High” and “Low” rather than ‘up’ and down’. Once students can identify the direction and move in response to what they are hearing, they may be ready to move to the staff notation. At first it is good to use songs that only hav ...
... Movement. We also need to keep the language consistent –using the words “High” and “Low” rather than ‘up’ and down’. Once students can identify the direction and move in response to what they are hearing, they may be ready to move to the staff notation. At first it is good to use songs that only hav ...
Traditional sub-Saharan African harmony
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).