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PRELUDE: The Fundamentals of Music
CHAPTER 1: Elements of Music: Sound, Melody, Rhythm,
and Harmony
CHAPTER OUTLINE
Sound
Tone
Note
Pitch
Frequency
Staff
Interval
Unison
Octave
Major Scale
Pitch Range
Dynamics
Decrescendo
Diminuendo
Crescendo
Accent
Timbre
Rhythm
Beat
Meter
Duple
Triple
Quadruple
Sextuple
Irregular Meters
Measures
Downbeat
Upbeat
Accent
Syncopation
Tempo
Tempo Indications
Tempo Changes
Rubato
Fermata
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Melody
Legato
Phrase
Cadence
Incomplete
Complete
Sequence
Theme
Harmony
Chords
Progression
Consonance
Dissonance
Triad
Arpeggio
NEW CONCEPTS
tone
note
pitch
frequency
staff
interval
unison
octave
major scale
pitch range
dynamics
accent
pianissimo pp
piano p
mezzo piano mp
mezzo forte mf
forte f
fortissimo ff
decrescendo
diminuendo
crescendo
timbre
rhythm
beat
meter
measure
triple meter
downbeat
duple meter
quadruple meter
upbeat
sextuple
quintuple meter
septuple meter
syncopation
tempo
largo
grave
lento
adagio
andante
moderato
allegretto
allegro
vivace
presto
prestissimo
rubato
fermata
melody
legato
staccato
phrase
cadence
sequence
theme
harmony
chord
chord progression
consonance
dissonance
triad
tonic
arpeggio
LEARNING OBJECTIVES
1. Through practice, students should become comfortable using the new terms and concepts
to describe various aspects of sound, rhythm, melody, and harmony. Guided by each of
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© 2012 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or distribution in any
manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in whole or part.
Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-3rd-Edition-byCharlton
the Learning Objectives, students should practice using newly introduced concepts and
terminology.
2. Sound is a basic component of music. What is sound? What is a musical sound? Is a
musical sound different from other types of sound? What creates pitch? What makes a
violin sound like a violin and a piano sound like a piano? Students should devote some
time to exploring various sounds and timbres.
3. Melody is the most familiar musical element for many students to listen for. Have
students practice becoming aware of and listening for melodic structure in familiar
tunes—whether folk songs or popular music—to introduce the idea of listening over the
course of an entire piece.
4. Students should learn to listen for rhythmic organization. Students accustomed only to
hearing the beat kept by percussion instruments often have trouble identifying a regular
pulse in music without such a beat. As a first step, they should practice finding the beat in
a variety of types of music. Next, they should focus on metrical patterns. As they become
more comfortable, they should become more aware of changes to the metrical structure:
syncopations, triplets, and so on.
OVERVIEW OF CHAPTER 1
The “Prelude” to Chapters 1–3 explains to students that they will experience a wide variety of
music. Although these varied types of music sound quite different, they all involve the same
components: sound, rhythm, melody, and harmony. In order to understand how these elements
contribute to the music, it is necessary to become familiar with these elements and how they
combine. It is also helpful to become familiar with the orchestra and its instruments. The first
three chapters of the text will provide the vocabulary and experience needed.
TOPICS FOR DISCUSSION
1. Although this chapter has no specific listening examples, it has ample opportunities for
listening examples as illustrations of the elements. Having a keyboard handy to play
simple melodies, illustrate concepts of tempo and dynamics, and provide examples of
chords is useful. Consider incorporating the following pieces from the CD set as
examples of concepts covered in Chapters 1–3:
Purcell, “When I am laid in earth,” from Dido and Aeneas-triple meter
Mozart, Symphony No. 40, I—duple meter
Handel, “Comfort Ye” from Messiah—quadruple meter
Bernstein, “America” from West Side Story—sextuple meter
Haydn, String Quartet, op. 33, no. 3, (“The Bird”) IV—dissonance
2. Music is a most difficult art to grasp because it is so abstract. It never entirely exists in
the present, but relies on both memory and intuition (or expectation, as Leonard Meyer
says in his Emotion and Meaning in Music). The listener needs to be able to remember
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© 2012 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or distribution in any
manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in whole or part.
Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-3rd-Edition-byCharlton
what he or she has heard before and relate that to what he or she hears in the present.
Much folk and popular music is short and repetitive with very little thematic
development. More complex works—a Mozart string quartet, for example—have distinct
themes that go through a period of development. The listener needs to have the skill to
recognize something as a theme and then listen as that theme is transformed,
manipulated, and recapitulated.
3. Listeners cannot always perceive the beat easily. Students may confuse it with the
metric accent. Composers can also manipulate durations to make the music sound as
though the beat speeds up or slows down. Simple examples of folk or nursery-rhyme
songs can help illustrate: Play “Mary Had a Little Lamb” in common time and in cut
time, or play the tune using quarter-note durations and then half notes, keeping the beat
the same.
4. Students need to think of melody as linear. But melody also takes on contour because
of its changes of pitch. Help students understand this by playing the opening phrase of
“Joy to the World,” which descends stepwise, and then comparing that with “Twinkle,
Twinkle, Little Star,” which has repeated pitches, leaps, and downward steps.
5. Students are often confused by melodic contour, perceiving legato melodies as
conjunct and staccato passages as disjunct. Be sure to emphasize that melodic contour
refers to the placement of pitches within a melody, and not to the way that melody is
performed.
5. Probably the best way to illustrate harmony is to use the blues progression as an
example of how chords provide a framework over which a melody is constructed. Chords
create rhythm, too, by how often and regularly they change.
FURTHER QUESTIONS AND TOPICS
1. What do the terms piano and forte mean? How does the composer indicate dynamics
between and beyond these two levels?
2. What are the components of rhythm? How does beat differ from meter? How do beat and
meter differ from note values (duration)?
3. How does a listener recognize the end of a melodic phrase?
4. What is an arpeggio? How does it relate to a chord?
5. Can you draw a picture of a melody? What are some interesting melodies that you know?
Suggest: Draw a picture of a melody you know. What makes it interesting to you? What
materials would you use in order to recreate that melody? Are the pitches all connected,
like a string? Or are they individual points?
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© 2012 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or distribution in any
manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in whole or part.