elements of music
... bass clef – try to place the two dots directly in the 3rd and 4th space surrounding that fourth line. ...
... bass clef – try to place the two dots directly in the 3rd and 4th space surrounding that fourth line. ...
Guidelines for the Analysis of Twentieth
... Material is often radically transformed, compressed, or expanded if it reappears at all. C. Traditional forms do occur rather frequently, but often their articulation depends not on tonal criteria, as before, but on non-pitch-related aspects of music: tempo, rhythmic characteristics, dynamics, timbr ...
... Material is often radically transformed, compressed, or expanded if it reappears at all. C. Traditional forms do occur rather frequently, but often their articulation depends not on tonal criteria, as before, but on non-pitch-related aspects of music: tempo, rhythmic characteristics, dynamics, timbr ...
Document
... Division into Phrases • Often correspond to poetic lines • Often two, four, or eight measures long • Tend to be natural breathing points ...
... Division into Phrases • Often correspond to poetic lines • Often two, four, or eight measures long • Tend to be natural breathing points ...
ADVANCED INSTRUMENTAL STUDIES
... The Afro-Cuban songo rhythm was developed for the drumset in the 1970s by the renowned Cuban percussionist Jose ‘Changuito’ Quintana, famous for his work with the band Los San San. Throughout the1970’s and beyond, ‘Chanquito’ continued to innovate with songo - incorporating new techniques, rhythms a ...
... The Afro-Cuban songo rhythm was developed for the drumset in the 1970s by the renowned Cuban percussionist Jose ‘Changuito’ Quintana, famous for his work with the band Los San San. Throughout the1970’s and beyond, ‘Chanquito’ continued to innovate with songo - incorporating new techniques, rhythms a ...
Scales
... Ledger Lines are an extension of the staff. They are additional lines both above and below which are parallel to the staff. Each ledger line contains one note. ...
... Ledger Lines are an extension of the staff. They are additional lines both above and below which are parallel to the staff. Each ledger line contains one note. ...
Music Rubric-Vocal Performance Individual
... posture and singing stance and tension is highly visible in the throat, jaw, and or/or ...
... posture and singing stance and tension is highly visible in the throat, jaw, and or/or ...
Introducing Musical STYLE newx
... Of all the elements of style, texture is the one students often find hardest to grasp. Traditionally, it has been divided into three types: • MONOPHONIC – one melody without accompaniment. It may be played or sung by different performers, in which case they are in unison. The third movement of Schub ...
... Of all the elements of style, texture is the one students often find hardest to grasp. Traditionally, it has been divided into three types: • MONOPHONIC – one melody without accompaniment. It may be played or sung by different performers, in which case they are in unison. The third movement of Schub ...
TALKING TO YOUR RHYTHM SECTION Chris Sharp, Ph.D. FMEA
... established ones) do not provide enough information for your drummer, particularly if they are not versed in a variety of styles! However, there are some general guidelines to which the majority do adhere. For notes on the snare, toms, and bass drum, standard note heads are usually used; cymbals ...
... established ones) do not provide enough information for your drummer, particularly if they are not versed in a variety of styles! However, there are some general guidelines to which the majority do adhere. For notes on the snare, toms, and bass drum, standard note heads are usually used; cymbals ...
File
... The Allegro section features dotted eighth/sixteenth rhythm and triplet eighths. It opens with a four bar fanfare. In m. 64, the fanfare is repeated higher. M.68 restates only the first half of the original fanfare. M.72, 76,78, and 80 all repeat the first half of the original fanfare at different p ...
... The Allegro section features dotted eighth/sixteenth rhythm and triplet eighths. It opens with a four bar fanfare. In m. 64, the fanfare is repeated higher. M.68 restates only the first half of the original fanfare. M.72, 76,78, and 80 all repeat the first half of the original fanfare at different p ...
Document
... When a student starts learning to solo, the first set of scales are usually the pentatonic scales. It is a good place to start and they easily turn into blues scales. In my experience, most students at some point will give up on these scales. Perhaps they are limiting in fretboard usage. Some compla ...
... When a student starts learning to solo, the first set of scales are usually the pentatonic scales. It is a good place to start and they easily turn into blues scales. In my experience, most students at some point will give up on these scales. Perhaps they are limiting in fretboard usage. Some compla ...
Instrumental Music Beg 1st 9 weeks
... I can play a 5 note scale. Strings I can play a one octave D scale. Percussion I can play with a steady beat on my percussion instrument. ...
... I can play a 5 note scale. Strings I can play a one octave D scale. Percussion I can play with a steady beat on my percussion instrument. ...
Popular Music Theory - The Academy Of Popular Music
... You can also beam 4 semiquavers together that start on a beat but you should not beam together semiquavers that belong to 2 different beats. ...
... You can also beam 4 semiquavers together that start on a beat but you should not beam together semiquavers that belong to 2 different beats. ...
01_front - Massey Research Online
... being passed directly from master to student. The relative lack of literature on the theoretical components of jazz, and the fact that most of its finest examples only exist in recorded form, have exacerbated this situation. In the last decade or so several books have been written in an attempt to d ...
... being passed directly from master to student. The relative lack of literature on the theoretical components of jazz, and the fact that most of its finest examples only exist in recorded form, have exacerbated this situation. In the last decade or so several books have been written in an attempt to d ...
Time Signatures Demystified
... • So, in compound meter the beat note is ALWAYS a dotted note. • The problem is that dotted notes cannot be represented by a number (which show its relationship to the whole note). • Instead, the numbers that make up a compound time signature have different meanings than in simple time signatures. • ...
... • So, in compound meter the beat note is ALWAYS a dotted note. • The problem is that dotted notes cannot be represented by a number (which show its relationship to the whole note). • Instead, the numbers that make up a compound time signature have different meanings than in simple time signatures. • ...
12-13 A S05 rubric
... Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples of twentieth century music and identify several general characteristics of this period’s music. TSW9 create a composition that uses traditional instruments in experimental ways TSW10 listen to a ...
... Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples of twentieth century music and identify several general characteristics of this period’s music. TSW9 create a composition that uses traditional instruments in experimental ways TSW10 listen to a ...
Dynamics, Articulations, Slurs, Tempo Markings
... Tempo is the speed of the beat, usually given in beats per minute (BPM). Sometimes BPM is labeled M.M. for Maelzel’s metronome. (Johann Maelzel promoted and improved the metronome in the 1800s.) The crescendo/diminuendo examples above show a tempo label of 60 quarter notes per minute, or one quarter ...
... Tempo is the speed of the beat, usually given in beats per minute (BPM). Sometimes BPM is labeled M.M. for Maelzel’s metronome. (Johann Maelzel promoted and improved the metronome in the 1800s.) The crescendo/diminuendo examples above show a tempo label of 60 quarter notes per minute, or one quarter ...
Here is the ligeti chamber concerto article
... so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 38 with the addition of the chromatically filled-in major ninth span in the keyboard instruments. This maxima is followed by a rapid decrease in ...
... so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 38 with the addition of the chromatically filled-in major ninth span in the keyboard instruments. This maxima is followed by a rapid decrease in ...
Musical Terms and Definitions
... slowly, walking tempo (quarter note = approximately 55 to 70 on the metronome) a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation o ...
... slowly, walking tempo (quarter note = approximately 55 to 70 on the metronome) a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation o ...
AOSA Curriculum Glossary - American Orff
... and musical depth. Meter in which the strong pulses within a measure consist of subdivisions, usually in units of three. Examples are: Compound Duple 6/8 (3+3) , Compound Triple 9/8(3+3+3). Examples include Compound Irregular meter (2+2+3). A conducted improvisation in which the leader cues performe ...
... and musical depth. Meter in which the strong pulses within a measure consist of subdivisions, usually in units of three. Examples are: Compound Duple 6/8 (3+3) , Compound Triple 9/8(3+3+3). Examples include Compound Irregular meter (2+2+3). A conducted improvisation in which the leader cues performe ...
Fundamentals of Music G9-12
... constructed within all the key signatures. All the world’s melodies are made from scales. The scale is the fundamental building block of music, much as the skeleton is the foundation of the human body. Scales have the ability to define and color music. Today, the two most important scales of Western ...
... constructed within all the key signatures. All the world’s melodies are made from scales. The scale is the fundamental building block of music, much as the skeleton is the foundation of the human body. Scales have the ability to define and color music. Today, the two most important scales of Western ...
Music Theory 101
... A repeat sign looks like the music end, but it has two dots, one above the other, indicating that the section of music that is before is to be repeated. The beginning of the repeated passage can be marked by a begin-repeat sign; if this is absent the repeat returns to the beginning of the piece or m ...
... A repeat sign looks like the music end, but it has two dots, one above the other, indicating that the section of music that is before is to be repeated. The beginning of the repeated passage can be marked by a begin-repeat sign; if this is absent the repeat returns to the beginning of the piece or m ...
Rhythm
Rhythm (from Greek ῥυθμός, rhythmos, ""any regular recurring motion, symmetry"" (Liddell and Scott 1996)) generally means a ""movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions"" (Anon. 1971, 2537). This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years.In the performance arts rhythm is the timing of events on a human scale; of musical sounds and silences, of the steps of a dance, or the meter of spoken language and poetry. Rhythm may also refer to visual presentation, as ""timed movement through space"" (Jirousek 1995,) and a common language of pattern unites rhythm with geometry. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston (Yeston 1976), Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty (Hasty 1997), Godfried Toussaint (Toussaint 2005), William Rothstein, and Joel Lester (Lester 1986).In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words Percival 1946, 1006.