Band Introduction - Georgia Standards
... for pitch, key signatures, rhythm, dynamics, tempo, articulation, expression, and direction (including repeat signs, da capo, etc.) into individual and ensemble performances. c. Notate rhythms and melodies utilizing a dictation method. d. Read and notate music using software. B. Creation MMSAP.4 - I ...
... for pitch, key signatures, rhythm, dynamics, tempo, articulation, expression, and direction (including repeat signs, da capo, etc.) into individual and ensemble performances. c. Notate rhythms and melodies utilizing a dictation method. d. Read and notate music using software. B. Creation MMSAP.4 - I ...
Good Melodic Writing
... A good melody usually has a good balance between steps and leaps. A leap is usually followed by steps in opposite direction (filling in the blank). 3. Rhythmic character: long-short patterns instead of steady rhythm constantly A good melody usually has a distinct rhythmic character. Tonality and Har ...
... A good melody usually has a good balance between steps and leaps. A leap is usually followed by steps in opposite direction (filling in the blank). 3. Rhythmic character: long-short patterns instead of steady rhythm constantly A good melody usually has a distinct rhythmic character. Tonality and Har ...
3e_Late_Med_MUS
... • Rhythm was still not precisely notated, but was indicated by the grouping of neumes and applying the proper Rhythmic Mode (next slide) • This period of evolution (1100-1250) culminated in the notation of rhythm that is used today ...
... • Rhythm was still not precisely notated, but was indicated by the grouping of neumes and applying the proper Rhythmic Mode (next slide) • This period of evolution (1100-1250) culminated in the notation of rhythm that is used today ...
Document
... Phrases and cadences Repetition and contrast Motives and sequence Balance, form, and climax Tune, motive, and theme Melodic character and emotional ...
... Phrases and cadences Repetition and contrast Motives and sequence Balance, form, and climax Tune, motive, and theme Melodic character and emotional ...
Chapter 2 ELEMENTS AND CONCEPTS OF MUSIC
... feature of a performance of that piece. Instead, it is often the improvisation that is the focus of attention, and by definition, the improvisations will vary from performance to performance of the same piece. A typical performance of a jazz composition may last for ten minutes, of which only two mi ...
... feature of a performance of that piece. Instead, it is often the improvisation that is the focus of attention, and by definition, the improvisations will vary from performance to performance of the same piece. A typical performance of a jazz composition may last for ten minutes, of which only two mi ...
THE BLUES SCALE Phillip Pedler This scale is so often overlooked
... voice or instrumental part accompanying a melody or primary line in parallel motion) in fourths. These tribes never, even by chance, sing an isolated third. The same is true of tribes who sing in fifths and octaves." (Italics mine.) It is also significant that these harmony notes are considered equa ...
... voice or instrumental part accompanying a melody or primary line in parallel motion) in fourths. These tribes never, even by chance, sing an isolated third. The same is true of tribes who sing in fifths and octaves." (Italics mine.) It is also significant that these harmony notes are considered equa ...
File - Music with Mrs. Fash
... 1.b - Sing and perform with others speech canons, rounds, ostinati, descant, multiple stanzas, partner songs and simple two-part songs. 1.c - Sing from memory multiple songs representing various genres, tonalities, meters, and cultures including songs in a foreign language. 1.d - Respond with approp ...
... 1.b - Sing and perform with others speech canons, rounds, ostinati, descant, multiple stanzas, partner songs and simple two-part songs. 1.c - Sing from memory multiple songs representing various genres, tonalities, meters, and cultures including songs in a foreign language. 1.d - Respond with approp ...
Wagner on Music of the Future
... movements. Haydn, indeed, was mostly able to give these interspaces a very interesting stamp, but Mozart—who here approached much nearer to the Italian notion of melodic form—had often, nay almost habitually, relapsed into that banal build of phrases which constantly places his symphonic movements i ...
... movements. Haydn, indeed, was mostly able to give these interspaces a very interesting stamp, but Mozart—who here approached much nearer to the Italian notion of melodic form—had often, nay almost habitually, relapsed into that banal build of phrases which constantly places his symphonic movements i ...
The Geometry of Melodic, Harmonic, and Metrical
... A melodic hierarchy is one on tones strictly ordered in time and belonging to one voice. One particularly useful melodic hierarchy emerges from the principles, first, that the line it represents should be conceived as constantly in motion at every level (so that the line can include no repeated tone ...
... A melodic hierarchy is one on tones strictly ordered in time and belonging to one voice. One particularly useful melodic hierarchy emerges from the principles, first, that the line it represents should be conceived as constantly in motion at every level (so that the line can include no repeated tone ...
On Tonal Dynamics and Musical Meaning - Signata
... are projected to form salient intervals with the basic tone (the tonic) and thereby give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones ...
... are projected to form salient intervals with the basic tone (the tonic) and thereby give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones ...
www.classclef.com Page 1
... Fourth chord Chord in which the tones are a fourth apart, instead of a third; used in twentiethcentury music. Free jazz Jazz style which departs from traditional jazz by not being based on regular forms and established chord patterns; developed during the 1960s. Frei (G) Free French horn Brass instr ...
... Fourth chord Chord in which the tones are a fourth apart, instead of a third; used in twentiethcentury music. Free jazz Jazz style which departs from traditional jazz by not being based on regular forms and established chord patterns; developed during the 1960s. Frei (G) Free French horn Brass instr ...
National Vocal Music Standards Grades 5
... b) arrange simple pieces for voices or instruments other than those for which the pieces were written c) use a variety of traditional and nontraditional sound sources and electronic media when composing and arranging 5. Content Standard: Reading and notating music Achievement Standard: a) read whole ...
... b) arrange simple pieces for voices or instruments other than those for which the pieces were written c) use a variety of traditional and nontraditional sound sources and electronic media when composing and arranging 5. Content Standard: Reading and notating music Achievement Standard: a) read whole ...
Chromaticism I
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
Instrumental Music Beg 3rd 9 weeks
... Concert Bb, Eb and F scales. Strings I can demonstrate correct pitch and fingering for the one octave D, G and C scale . Percussion I can perform 5 and 9 Stroke Rolls and sixteenth note patterns. ...
... Concert Bb, Eb and F scales. Strings I can demonstrate correct pitch and fingering for the one octave D, G and C scale . Percussion I can perform 5 and 9 Stroke Rolls and sixteenth note patterns. ...
Introduction to Barbershop Harmony
... In barbershop harmony, the four voice parts have different names and functions than in other vocal styles. Although the ranges for the four voice parts are similar to traditional music, the strength of the barbershop chord structure lies in its cone-shaped sound. The lightest production, without sac ...
... In barbershop harmony, the four voice parts have different names and functions than in other vocal styles. Although the ranges for the four voice parts are similar to traditional music, the strength of the barbershop chord structure lies in its cone-shaped sound. The lightest production, without sac ...
Augmented Sixth Chords
... for creating tension in music of the common practice period. it drives the entire style! ...
... for creating tension in music of the common practice period. it drives the entire style! ...
P5a - Piano Grade 5
... • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply that crescendo or diminuendo should never be used. • Baroque music often contains long p ...
... • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply that crescendo or diminuendo should never be used. • Baroque music often contains long p ...
Impact of the Blues on Other Forms of Popular Music
... performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin’s “Rhapsody in Blue” and “Concerto in ...
... performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin’s “Rhapsody in Blue” and “Concerto in ...
The History of Music, Second Edition
... Great attempted to organize the various chants that had spread throughout Christendom. His compilation became known as Gregorian Chant. These bare, unadorned melodies have remained vital to Catholic worship. Modern composers often return to them when they want to evoke a solemn, sacred atmosphere.] ...
... Great attempted to organize the various chants that had spread throughout Christendom. His compilation became known as Gregorian Chant. These bare, unadorned melodies have remained vital to Catholic worship. Modern composers often return to them when they want to evoke a solemn, sacred atmosphere.] ...
Melody
... A theme is a melody—tuneful or not—that recurs throughout a piece in its original form or in altered forms. For example, consider how the musical theme of a movie is changed to suit the moods or situations of the film. The main melody of Strauss’s Also sprach Zarathustra (Listening Example 1 ) is an ...
... A theme is a melody—tuneful or not—that recurs throughout a piece in its original form or in altered forms. For example, consider how the musical theme of a movie is changed to suit the moods or situations of the film. The main melody of Strauss’s Also sprach Zarathustra (Listening Example 1 ) is an ...
Additional Teaching Notes for Trinity College London Piano exams
... The Six Dances in Bulgarian Rhythm are the final pieces in the important collection of piano pieces entitled Mikrokosmos which Bartók assembled during the years 1926–1939. These dances are characterised by asymmetrical rhythms and bar-lengths. In this particular dance, there are three beats in a bar ...
... The Six Dances in Bulgarian Rhythm are the final pieces in the important collection of piano pieces entitled Mikrokosmos which Bartók assembled during the years 1926–1939. These dances are characterised by asymmetrical rhythms and bar-lengths. In this particular dance, there are three beats in a bar ...
Notes - Andre Mount
... o “Augmented 6th chords frequently represent a chromatically inflected IV or II on the way to V. Important possibilities include the chromatic inflection n4-#4, usually from IV6, and chromaticized voice exchange, usually from IV, but also from II65, etc. Augmented 6th chords can also result from the ...
... o “Augmented 6th chords frequently represent a chromatically inflected IV or II on the way to V. Important possibilities include the chromatic inflection n4-#4, usually from IV6, and chromaticized voice exchange, usually from IV, but also from II65, etc. Augmented 6th chords can also result from the ...
Ostinato
In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's Boléro or Giorgio Moroder's I Feel Love.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.Within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A ""favorite technique of contemporary jazz writers"", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.