Winterreise Analysis Paper
... of a town that he has left. The crow circles him, which makes him uneasy throughout his trek. He perceives the action on the part of the crow as an ill-omen, and as such he fears for his life. Begrudgingly, he decides to accept this notion and its implications; without breaking stride, angrily, he d ...
... of a town that he has left. The crow circles him, which makes him uneasy throughout his trek. He perceives the action on the part of the crow as an ill-omen, and as such he fears for his life. Begrudgingly, he decides to accept this notion and its implications; without breaking stride, angrily, he d ...
Music for Small Ensemble
... Pavane is slow and in duple time Galliard is fast and in triple time Both pieces comprise three sections, each one repeated Melody and Rhythm Melodic lines move generally by step, with few large leaps – similar to vocal music, especially in the Pavane Opening motive of the Pavane (descendi ...
... Pavane is slow and in duple time Galliard is fast and in triple time Both pieces comprise three sections, each one repeated Melody and Rhythm Melodic lines move generally by step, with few large leaps – similar to vocal music, especially in the Pavane Opening motive of the Pavane (descendi ...
Word Format - Years 11 and 12 - School Curriculum and Standards
... continue beat/rhythm exercises, correct grouping of rhythms and rests simple 2–4 bar dictations in simple time signatures, include anacrusis identify and correct at least one rhythmic discrepancy in a short musical example Pitch add minor 2nd and major 3rd as occurring in major scale, melodi ...
... continue beat/rhythm exercises, correct grouping of rhythms and rests simple 2–4 bar dictations in simple time signatures, include anacrusis identify and correct at least one rhythmic discrepancy in a short musical example Pitch add minor 2nd and major 3rd as occurring in major scale, melodi ...
LISTENING GUIDE
... 1. The variable phrase lengths. In the first section the opening trumpet melody and the answering horn melody are exactly four measures long. But this is followed by two-note phrases (half a measure each!). Then the homophonic section has two-measure phrases. This variety of phrase length is typical ...
... 1. The variable phrase lengths. In the first section the opening trumpet melody and the answering horn melody are exactly four measures long. But this is followed by two-note phrases (half a measure each!). Then the homophonic section has two-measure phrases. This variety of phrase length is typical ...
Music Cram Kit
... The handful of days before competition can be the most overwhelming. You don’t have enough time to review everything, so you need to study strategically. Cram Kits are designed to help you achieve that goal-----to offer you a quick snapshot of both the most testable and most easily forgotten facts i ...
... The handful of days before competition can be the most overwhelming. You don’t have enough time to review everything, so you need to study strategically. Cram Kits are designed to help you achieve that goal-----to offer you a quick snapshot of both the most testable and most easily forgotten facts i ...
Year-9-Music
... Listen to the musical examples named below. These musical examples can be found, along with these revision notes, in Shared Work > Music > Year 9 > 00Revision, or they can be played from music streaming or sharing sites such as Youtube. Piano Music in the Romantic Period Listen to Chopin Prelude in ...
... Listen to the musical examples named below. These musical examples can be found, along with these revision notes, in Shared Work > Music > Year 9 > 00Revision, or they can be played from music streaming or sharing sites such as Youtube. Piano Music in the Romantic Period Listen to Chopin Prelude in ...
投影片 1
... behind the pitch organisation of atonal music Whether the composer aims to present free atonality or well-organised pitch architecture Whether one looks for unpredictable rhythmic writing or great rhythmic variety Whether the flexible rhythms help shaping the music into comprehensible units or ...
... behind the pitch organisation of atonal music Whether the composer aims to present free atonality or well-organised pitch architecture Whether one looks for unpredictable rhythmic writing or great rhythmic variety Whether the flexible rhythms help shaping the music into comprehensible units or ...
African Music and the Pre-Jazz Era
... and no music, it is likely that Allen’s hymns were sung using techniques such as call and response, repetitive phrases, and shouting. This blending of African music tradition with European church music, the spiritual, had been a common practice for many years by this time. Spirituals were the first ...
... and no music, it is likely that Allen’s hymns were sung using techniques such as call and response, repetitive phrases, and shouting. This blending of African music tradition with European church music, the spiritual, had been a common practice for many years by this time. Spirituals were the first ...
African Drums Long term Plan
... others’ achievements when playing with and performances accompaniment or as an ensemble Play simple patterns and pieces by ear and from memory ...
... others’ achievements when playing with and performances accompaniment or as an ensemble Play simple patterns and pieces by ear and from memory ...
Establishing the Elements of Music Groundwork
... During composing, performing, or listening to music, one is aware of a periodic succession of beats. This is particularly important for composers and arrangers, musicians and music listeners in general. As a musician, my perception of the pulse of music allows me to be very effective in the performa ...
... During composing, performing, or listening to music, one is aware of a periodic succession of beats. This is particularly important for composers and arrangers, musicians and music listeners in general. As a musician, my perception of the pulse of music allows me to be very effective in the performa ...
Establishing the Elements of Music Groundwork
... During composing, performing, or listening to music, one is aware of a periodic succession of beats. This is particularly important for composers and arrangers, musicians and music listeners in general. As a musician, my perception of the pulse of music allows me to be very effective in the performa ...
... During composing, performing, or listening to music, one is aware of a periodic succession of beats. This is particularly important for composers and arrangers, musicians and music listeners in general. As a musician, my perception of the pulse of music allows me to be very effective in the performa ...
The evolution of jazz trumpet playing
... Daniel “Satchmo” Louis Armstrong was born in 1901 and is the most important jazz soloist in the history of jazz and is also therefore the most important and influential trumpet soloist. Armstrong was the first jazz soloist to have extended jazz improvisations in his performances. (opinions by Jon Fa ...
... Daniel “Satchmo” Louis Armstrong was born in 1901 and is the most important jazz soloist in the history of jazz and is also therefore the most important and influential trumpet soloist. Armstrong was the first jazz soloist to have extended jazz improvisations in his performances. (opinions by Jon Fa ...
Document
... fascinatingly individual keyboard texture. The C-sharp Major Prelude from Book I inspired my first piece, Rondo. I started with Bach’s arpeggiated motif and then truncated the meter, reducing it by one sixteenth note to 5/16. We find Bach the rhythmicist in the preludes, and many of them like this o ...
... fascinatingly individual keyboard texture. The C-sharp Major Prelude from Book I inspired my first piece, Rondo. I started with Bach’s arpeggiated motif and then truncated the meter, reducing it by one sixteenth note to 5/16. We find Bach the rhythmicist in the preludes, and many of them like this o ...
document - Far Western District
... 3. Use of “tension and release”: This characteristic is what people often associate with barbershop music without realizing the theory behind it, and that’s just fine. Since barbershop has its roots as “ear music,” harmony singers would often use tense chords (minor, diminished, augmented, suspended ...
... 3. Use of “tension and release”: This characteristic is what people often associate with barbershop music without realizing the theory behind it, and that’s just fine. Since barbershop has its roots as “ear music,” harmony singers would often use tense chords (minor, diminished, augmented, suspended ...
pptx
... • Tatums or Ticks. Small unit of time. Beats and note onsets are described in units of tatums from the beginning of measure or cycle Above is an example of a hierarchy • Classification of a series of onsets into a type of rhythm based on minimizing the complexity of the required hierarchy or minimiz ...
... • Tatums or Ticks. Small unit of time. Beats and note onsets are described in units of tatums from the beginning of measure or cycle Above is an example of a hierarchy • Classification of a series of onsets into a type of rhythm based on minimizing the complexity of the required hierarchy or minimiz ...
The Neapolitan Chord (Phrygian II) Definition The Neapolitan chord
... It is often found in minor mode but may also be found in major. It most often appears in first inversion (with an unaltered note in the bass), so is most often referred to ...
... It is often found in minor mode but may also be found in major. It most often appears in first inversion (with an unaltered note in the bass), so is most often referred to ...
Guitar Long Term Plan
... contemporary techniques, e.g. artificial harmonics, sweep picking, tapping ...
... contemporary techniques, e.g. artificial harmonics, sweep picking, tapping ...
Texture and Melody
... any harmonies, although it may be played by more than one instrument or voice ...
... any harmonies, although it may be played by more than one instrument or voice ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
http://circle.adventist.org/files/download/Glossary_Musical_Terms.pdf
... occurring between the first and last note. cadence a succession of chords, usually two, at the end of a section or a composition, giving a feeling of rest or finality. canon a strict form of imitation in which a melody, stated in one part, is imitated for its entire length in one or more other parts ...
... occurring between the first and last note. cadence a succession of chords, usually two, at the end of a section or a composition, giving a feeling of rest or finality. canon a strict form of imitation in which a melody, stated in one part, is imitated for its entire length in one or more other parts ...
Pre SS Kit - Omar Sosa
... Born and raised in Camaguey, Cuba, Omar Sosa studied percussion for many years at the prestigious Escuela Nacional de Musica in Havana. When he couldn't find his first-choice instrument the marimba he began to focus on the piano, finishing his formal studies in 1984 at the Instituto Superior de Arte ...
... Born and raised in Camaguey, Cuba, Omar Sosa studied percussion for many years at the prestigious Escuela Nacional de Musica in Havana. When he couldn't find his first-choice instrument the marimba he began to focus on the piano, finishing his formal studies in 1984 at the Instituto Superior de Arte ...
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.