Lecture 1 - University of Colorado Boulder
... “Joy to the World” opens with? …descending/ascending Barber’s Adagio … long arch ...
... “Joy to the World” opens with? …descending/ascending Barber’s Adagio … long arch ...
Power Standard: Perform Music State Standard: 906.01.a2, 906.02
... o How are different rhythms combined? o How do we change music by adding new notes? o What happens to music if we don’t have guiding terms to help us? Possible Topics o Performing rhythmic combinations Have students put together different rhythm cards that make up a 16 beat rhythm Put together ...
... o How are different rhythms combined? o How do we change music by adding new notes? o What happens to music if we don’t have guiding terms to help us? Possible Topics o Performing rhythmic combinations Have students put together different rhythm cards that make up a 16 beat rhythm Put together ...
Chapter 9
... From poor Russian-Jewish family Founded a big band orchestra and was featured on national radio show “Let’s Dance” Performed as both a jazz and classical artist on the clarinet ► Clarinet ...
... From poor Russian-Jewish family Founded a big band orchestra and was featured on national radio show “Let’s Dance” Performed as both a jazz and classical artist on the clarinet ► Clarinet ...
Music - Z pen driva - lena1magda
... was a time when composers experimented with form, styles and instruments. This period saw the development of opera and instrumental music. ...
... was a time when composers experimented with form, styles and instruments. This period saw the development of opera and instrumental music. ...
AP-Music-Theory-Study-Guide
... Countermelody- accompanying melody sounding against the principle melody Elision (phrase elision)- when last note of one phrase serves as first note of next phrase Introduction- section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements Jazz and pop terms • Bridge- contr ...
... Countermelody- accompanying melody sounding against the principle melody Elision (phrase elision)- when last note of one phrase serves as first note of next phrase Introduction- section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements Jazz and pop terms • Bridge- contr ...
“Crazy Blues” T
... can be units of 2 (like a march), 3 (like a waltz), 4 (like many rock and blues styles), or even more. One of these rhythmic units is called a “measure” or, in idiomatic American music terminology, a “bar.” ...
... can be units of 2 (like a march), 3 (like a waltz), 4 (like many rock and blues styles), or even more. One of these rhythmic units is called a “measure” or, in idiomatic American music terminology, a “bar.” ...
BSB All That Jazz
... homes. Students will be taught a clapping pattern to simulate syncopation. Eubie Blake of Baltimore was a “Ragtime” composer / performer, Chevy Chase Rag. In the “Roaring 20”s”, dance music swept the nation in dances like “The Charleston”. A popular song of that era was That’s A Plenty, performed by ...
... homes. Students will be taught a clapping pattern to simulate syncopation. Eubie Blake of Baltimore was a “Ragtime” composer / performer, Chevy Chase Rag. In the “Roaring 20”s”, dance music swept the nation in dances like “The Charleston”. A popular song of that era was That’s A Plenty, performed by ...
Antecedent-Consequent Phrases», Part 1
... motif» – an extremely common occurrence in improvised solos. The first four consequent motifs ascend to the b9 (Ab) by arpeggiation or by leap. The next four motifs are fundamentally similar to the first four, however they are transposed an octave lower after the third (B) is played. The fourth moti ...
... motif» – an extremely common occurrence in improvised solos. The first four consequent motifs ascend to the b9 (Ab) by arpeggiation or by leap. The next four motifs are fundamentally similar to the first four, however they are transposed an octave lower after the third (B) is played. The fourth moti ...
jazz history class 1
... 2-5 trumpets (usually 3) with lead in the middle. 2-5 trombones (usually 3) with lead in the middle. ...
... 2-5 trumpets (usually 3) with lead in the middle. 2-5 trombones (usually 3) with lead in the middle. ...
Document
... arrangement – an adaptation of a piece of music; bands often play arrangements of pieces originally written for orchestra composition – the creation of music that can be performed later , usually through writtendown notation improvisation – spontaneous composition of music through playing or singing ...
... arrangement – an adaptation of a piece of music; bands often play arrangements of pieces originally written for orchestra composition – the creation of music that can be performed later , usually through writtendown notation improvisation – spontaneous composition of music through playing or singing ...
World Music
... a. melodic contour – distance between high and low notes in the melody; can be large or small b. Melodic motive – short melodic idea that is repeated c. melodic theme – longer melodic idea that is often made up of motives and is repeated d. Frequent use of improvisation 2. Harmony – underlying suppo ...
... a. melodic contour – distance between high and low notes in the melody; can be large or small b. Melodic motive – short melodic idea that is repeated c. melodic theme – longer melodic idea that is often made up of motives and is repeated d. Frequent use of improvisation 2. Harmony – underlying suppo ...
Melodic Techniques in Jazz Improvisation
... improvising?" - lead me to begin the discussion with a definition of melody and of melodic playing, and then to present an overview of the topics that I'll address in subsequent columns - the compositional techniques of melody writing, those aspects of a solo which lead us to think of it as melodic, ...
... improvising?" - lead me to begin the discussion with a definition of melody and of melodic playing, and then to present an overview of the topics that I'll address in subsequent columns - the compositional techniques of melody writing, those aspects of a solo which lead us to think of it as melodic, ...
`Yiri` by Koko Music in African society • Rich, diverse musical culture
... • It is a vital part of everyday life and involves the whole community • Songs provide a means of communication. • African languages are TONE LANGUAGES. This means the pitch of the sound determines the actual meaning of the words. • Basic form of songs is call and response • Melodies are usually sho ...
... • It is a vital part of everyday life and involves the whole community • Songs provide a means of communication. • African languages are TONE LANGUAGES. This means the pitch of the sound determines the actual meaning of the words. • Basic form of songs is call and response • Melodies are usually sho ...
Siyahamba is in the key of F major. Notice that the key signature at
... You may work in pairs to add the chords or have a go by yourself either adding single finger chords or full chords. ...
... You may work in pairs to add the chords or have a go by yourself either adding single finger chords or full chords. ...
Musical Elements - eddleman1301wc03
... response from the listener. The deliberate use of silent intervals is also an important component of dynamics. ...
... response from the listener. The deliberate use of silent intervals is also an important component of dynamics. ...
“Sakura Sakura” and the Kumoijoshi Scale of Japan
... the song to the students (use a version that does not use a “D” in the last phrase if written in A minor). Teach bass xylophones the ostinato that is E-B-E’ over 2 beats (2 eighths followed by quarter) and have the class sing gently over the ostinato. Have extraneous pitches (G and D) removed from t ...
... the song to the students (use a version that does not use a “D” in the last phrase if written in A minor). Teach bass xylophones the ostinato that is E-B-E’ over 2 beats (2 eighths followed by quarter) and have the class sing gently over the ostinato. Have extraneous pitches (G and D) removed from t ...
Slide 1
... ~ consists of a succession of notes, varying in pitch, which have an organized and recognizable shape~ ~ is horizontal where the notes are heard consecutively ~ ...
... ~ consists of a succession of notes, varying in pitch, which have an organized and recognizable shape~ ~ is horizontal where the notes are heard consecutively ~ ...
The Motown Beat
... – We hear harmonies from the bass up – I, IV and V are the three basic chords of the blues—and of early rock – The change from one chord to the next creates a rhythm ...
... – We hear harmonies from the bass up – I, IV and V are the three basic chords of the blues—and of early rock – The change from one chord to the next creates a rhythm ...
Chapter 15: European Impressionism and Modernism
... The Exotic of Spain: Ravel’s Bolero (1928) • Maurice Ravel (1875-1937): Bolero (1828) – Bolero: A sultry Spanish dance in a slow tempo and triple meter – Repetitive, hypnotic music, moving inexorably towards a frenzied climax – A single melody – Instrumental color and gradual crescendo create a ...
... The Exotic of Spain: Ravel’s Bolero (1928) • Maurice Ravel (1875-1937): Bolero (1828) – Bolero: A sultry Spanish dance in a slow tempo and triple meter – Repetitive, hypnotic music, moving inexorably towards a frenzied climax – A single melody – Instrumental color and gradual crescendo create a ...
the clarinet - Richard Nunemaker
... Here is a recording perfectly adapted to the beginning of a new century. Depending on different viewpoints, this is either a fantastic breakthrough or simply another step towards a synthetic world…. Richard Nunemaker is a member of the Houston Symphony Orchestra where he performs on the clarinet, ba ...
... Here is a recording perfectly adapted to the beginning of a new century. Depending on different viewpoints, this is either a fantastic breakthrough or simply another step towards a synthetic world…. Richard Nunemaker is a member of the Houston Symphony Orchestra where he performs on the clarinet, ba ...
Elements of Music
... Tempo • beginning of a music piece indicates how slow or fast the piece should be played. This is called the tempo which is effective throughout the duration of the music unless the composer indicates otherwise. ...
... Tempo • beginning of a music piece indicates how slow or fast the piece should be played. This is called the tempo which is effective throughout the duration of the music unless the composer indicates otherwise. ...
Ragtime Inventing - Kinross High School
... Your melodies should: move around notes from the chord; leap octaves or move by step. The off-beat notes can be: a note from the chord; a passing note or a neighbour note. These have been circled in your rhythm bank. Passing note: a note that moves by step between two notes of a chord e.g. C D E Nei ...
... Your melodies should: move around notes from the chord; leap octaves or move by step. The off-beat notes can be: a note from the chord; a passing note or a neighbour note. These have been circled in your rhythm bank. Passing note: a note that moves by step between two notes of a chord e.g. C D E Nei ...
Elementary Music Glossary
... G-Clef: Signifies the treble clef or notes of the upper half of the piano, indicates the G-line in the treble staff. Harmony: two or more pitches sounding at the same time. Head Voice: Refers to singing notes that resonate in the head (higher range). Interval: The distance between two pitches. The ...
... G-Clef: Signifies the treble clef or notes of the upper half of the piano, indicates the G-line in the treble staff. Harmony: two or more pitches sounding at the same time. Head Voice: Refers to singing notes that resonate in the head (higher range). Interval: The distance between two pitches. 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.