JAY MCSHANN's HOOTIE BLUES
... have attempted to notate them so that the reader is able to identify downbeats and where they correspond with left hand activity. For example, in measure 39 provided below, I could have notated t ...
... have attempted to notate them so that the reader is able to identify downbeats and where they correspond with left hand activity. For example, in measure 39 provided below, I could have notated t ...
Historical periods, musical styles, and principal genres in western
... Late medieval music: 1300-1400 —the New Art (Ars nova) textures: polyphonic texts: vernacular languages and Latin rhythm: complex rhythmic patterns, simple and compound metrical groups, often syncopated melodic motion: conjunct lines harmony: consonances: (P=perfect) P4, P5, P8, some thirds ranges: ...
... Late medieval music: 1300-1400 —the New Art (Ars nova) textures: polyphonic texts: vernacular languages and Latin rhythm: complex rhythmic patterns, simple and compound metrical groups, often syncopated melodic motion: conjunct lines harmony: consonances: (P=perfect) P4, P5, P8, some thirds ranges: ...
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 ...
Music is made up of many different things called elements
... Degrees of loudness or softness in music are called…… When the same melody is played by one instrument and then by another, it takes on different expressive effects because of each instruments tone colour. ...
... Degrees of loudness or softness in music are called…… When the same melody is played by one instrument and then by another, it takes on different expressive effects because of each instruments tone colour. ...
Music Notes Beginners Class 1 :
... Akaaram: After a few such sessions, the same phrases can be rendered using the vowel "a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic music, with particular reference to vocal music. Thus, exposure to akarams is very essential at this stage, albeit in a simple ...
... Akaaram: After a few such sessions, the same phrases can be rendered using the vowel "a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic music, with particular reference to vocal music. Thus, exposure to akarams is very essential at this stage, albeit in a simple ...
Instrumental Music Adv 4th 9 weeks
... Big Ideas/Key Concepts: At an advancing level, students should be able to play with correct technique level III band or strings music. Students should begin to make broad connections between music and other disciplines. Students will have a high proficiency of technique, demonstrating high school r ...
... Big Ideas/Key Concepts: At an advancing level, students should be able to play with correct technique level III band or strings music. Students should begin to make broad connections between music and other disciplines. Students will have a high proficiency of technique, demonstrating high school r ...
Text on music
... material, but in a very transformed state: its variation. It is still quite strong. Movement 4: While Movement 1 and the Symphony as a whole are in C minor, Movement 4 is in C major which creates a joyful and triumphant mood. Against this background (and in contrast to it) the main theme reappears b ...
... material, but in a very transformed state: its variation. It is still quite strong. Movement 4: While Movement 1 and the Symphony as a whole are in C minor, Movement 4 is in C major which creates a joyful and triumphant mood. Against this background (and in contrast to it) the main theme reappears b ...
Music Beginning
... c. note 2. A symbol indicating a measured silence in music is referred to as a _____ a. note b. rest c. pitch 3. A _____ specifies how many beats are in each measure and what note value constitutes one beat. a. rhythm b. note c. time signature 4. The reading of music at first sight is referred to as ...
... c. note 2. A symbol indicating a measured silence in music is referred to as a _____ a. note b. rest c. pitch 3. A _____ specifies how many beats are in each measure and what note value constitutes one beat. a. rhythm b. note c. time signature 4. The reading of music at first sight is referred to as ...
Serial Music - Toot Hill School
... home note in the music. Bitonal music is when the composer uses 2 different key signatures (ie 2 different home notes), in two different parts, at the same time. Whole tone music Whole tone music is based on the whole tone scale. This is a scale made up of whole tones only, eg. C D E F# G# A# C. Mel ...
... home note in the music. Bitonal music is when the composer uses 2 different key signatures (ie 2 different home notes), in two different parts, at the same time. Whole tone music Whole tone music is based on the whole tone scale. This is a scale made up of whole tones only, eg. C D E F# G# A# C. Mel ...
Prof
... has 220, etc. In other words, each octave has notes with frequency double that of next lower octave. So, if C4 (middle C) has frequency 261.625, what does C5 have? 523.25. In Assignment 2 you will find a formula for computing the frequency of each note. ...
... has 220, etc. In other words, each octave has notes with frequency double that of next lower octave. So, if C4 (middle C) has frequency 261.625, what does C5 have? 523.25. In Assignment 2 you will find a formula for computing the frequency of each note. ...
Chapter 15: European Impressionism and Modernism
... – Dissonant harmonies; atonal; disjunct vocal style; Sprechstimme creates an almost-hysterical sound – Unfolds like a stream of consciousness ...
... – Dissonant harmonies; atonal; disjunct vocal style; Sprechstimme creates an almost-hysterical sound – Unfolds like a stream of consciousness ...
Introduction to Scales
... work out the relationship between each of the notes with the class. When you get to the E – F they will say the relationship is a semi-tone, where it should be (according to the formula) a tone. Describe the necessity for a # in order to make this formula true. Let the class write down G Major scale ...
... work out the relationship between each of the notes with the class. When you get to the E – F they will say the relationship is a semi-tone, where it should be (according to the formula) a tone. Describe the necessity for a # in order to make this formula true. Let the class write down G Major scale ...
Name
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
File
... Each performing arts ensemble will take a semester final exam that will consist of 2 parts: a departmental portion and an ensemblespecific portion. Part I of the exam (the departmental portion) will consist of 50 multiple-choice questions and will be given to all student musicians of the same year/l ...
... Each performing arts ensemble will take a semester final exam that will consist of 2 parts: a departmental portion and an ensemblespecific portion. Part I of the exam (the departmental portion) will consist of 50 multiple-choice questions and will be given to all student musicians of the same year/l ...
Date
... 1. Speak slowly the words: do-re-mi-fa-so-la-ti-do. Explain that pattern is one used to name pitches in a scale. Listen for it in this song. Play "Do-Re-Mi." 2. Sing the song with the recording. 3. Discuss that the pattern moves upward by steps. Draw a set of 8 steps on the board to show example of ...
... 1. Speak slowly the words: do-re-mi-fa-so-la-ti-do. Explain that pattern is one used to name pitches in a scale. Listen for it in this song. Play "Do-Re-Mi." 2. Sing the song with the recording. 3. Discuss that the pattern moves upward by steps. Draw a set of 8 steps on the board to show example of ...
A number of students have asked for some resources to help them
... Bass part is derived from kick drum rhythm pattern— "locking in" with the drummer b. Other notes are filled in to create an interesting part c. Walking bass line is common: even rhythmic pattern in a scale-oriented set of pitches d. Emphasis is put on the root note of the chord by playing that note ...
... Bass part is derived from kick drum rhythm pattern— "locking in" with the drummer b. Other notes are filled in to create an interesting part c. Walking bass line is common: even rhythmic pattern in a scale-oriented set of pitches d. Emphasis is put on the root note of the chord by playing that note ...
FIGURED BASS Figured bass symbols indicate intervals above the
... 2. Key signatures apply to figures as well as notes. ...
... 2. Key signatures apply to figures as well as notes. ...
5th Grade - Mercer Island School District
... Bass Clef pitches use Animal Sayings H. INTERVALS: Know how to identify intervals by number and whether it is melodic or harmonic. An interval in music is the distance between two notes in regard to pitch (how high or low the note sounds). The interval is counted from the lower note to the upper, in ...
... Bass Clef pitches use Animal Sayings H. INTERVALS: Know how to identify intervals by number and whether it is melodic or harmonic. An interval in music is the distance between two notes in regard to pitch (how high or low the note sounds). The interval is counted from the lower note to the upper, in ...
12-13 A S05 rubric
... TSW7 listen to samples of music from each of the Renaissance, Baroque, Classical and 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 ...
... TSW7 listen to samples of music from each of the Renaissance, Baroque, Classical and 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 ...
Late Nineteenth-Century Developments after Beethoven
... Alban Berg (1885-1935) Anton Webern (1883-1945) Serialism A method of composition in which one or more musical elements is subject to ordering in a fixed series. Most commonly the elements so arranged are the 12 chromatic pitches ...
... Alban Berg (1885-1935) Anton Webern (1883-1945) Serialism A method of composition in which one or more musical elements is subject to ordering in a fixed series. Most commonly the elements so arranged are the 12 chromatic pitches ...
playing the organ works of mendelssohn
... first three chords—but that means that the thumb has to leap from D to G. My alternative needs almost no hand movement: it’s only the pinky and the pointer that are moving to neighboring notes across the barline (I tend to tie over the A in the middle; such ties are very often left to the performer ...
... first three chords—but that means that the thumb has to leap from D to G. My alternative needs almost no hand movement: it’s only the pinky and the pointer that are moving to neighboring notes across the barline (I tend to tie over the A in the middle; such ties are very often left to the performer ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.