2 Recitative Stile recitativo Recitativo secco (parlando) Recitativo accompagnato
3 Stile recitativo Earliest form of recitative, from early opera Chords specified by basso continuo The voice s recitation is free to imitate the rhythms of speech. Example: Jacopo Peri, l Euridice: Per quel vago boschetto
4 Recitativo secco Also known as recitativo parlando Dry : accompanied by sustained or staccato chords interpolated at the rests in the vocal line. (Chords are indicated by figures, not notes.) Form is free, the text being often in prose rather than poetry. Typical of opera seria, carries the brunt of the plot.
5 Recitativo secco Can make a useful laboratory for studying simple harmonic motions, in particular applied dominants and seventh chords, which tend to abound. The recitatives tend to be ignored by analysts, but they can be fruitful topics for study.
8 Recitativo Accompagnato First Style: adds longer, sustained chords in the accompaniment while the vocal line continues similarly to the secco style. Christ s arias in the St. Matthew Passion are in this style, in which a halo of string chords around Jesus appear for his recitative.
9 Recitativo Accompagnato St. Matthew Passion: Da das Jesus merkete... The Evangelist begins with a standard secco recitative, and then the string halo appears when Jesus begins singing.
10 Recitativo Accompagnato In the St. Matthew Passion, the halo around Jesus s recitatives disappears once -- at the words Eli, eli, lama sabachthani ( My God, My God, why have you forsaken me? )
11 Recitativo Accompagnato Second Style: much more metrical, with a patterned accompaniment. The vocal line is also metrical. More commonly found in oratorios and passions. An example from the St. Matthew Passion: Wiewohl mein Herz
12 Later Recitative It did not really die out in the 19th century, although the clear classifications of earlier opera began to blur.
13 Wagner Recitative Die Walkure, from Act I: this is a distinct recitativo secco.
14 Wagner Recitative A typical Wagnerian accompagnato, in which the orchestra provides leitmotifs as well as other materials, while the vocal line sails either above or through the instrumental texture.
15 Arioso Halfway between recitative and aria More melodic than recitative Less extended than aria Often the concluding section of a lengthy recitative.
16 Arioso Bach was in particular fond of arioso in the cantatas and oratorios. Cantata No. 83 Ich habe genug, in the second recitative, at the words Welt! gute Nacht.
17 Strophic Aria Typically 17th century, early and mid Baroque practice. Two-part song form as a rule, with the second strophe varied a bit to accomodate the text.
18 Strophic Aria Cesti: Orontea: Act II, Scene 17 Intorno all idol mio Two-part song form with 2 strophes In each strophe, Part II of the song form is repeated as a cadential passage.
20 Strophic Aria Several other types are also possible: A B B Typically ABB - Ritornello - ABB - Ritornello A B A Typically ABA - Ritornello - ABA - Ritornello The source of the da capo aria.
21 Da Capo Aria The standardized form is: 1. Two poetic stanzas of approximately equal length and similar rhyme scheme. 2.Each stanza normally ends with a cadential verso trunco (with the accent on the final syllable)
22 Da Capo Example for study: V adoro, pupille from Handel s Giulio Cesare.
23 Da Capo Aria: Text Tetrameter: four beats to a line Dactylic: composed of dactyls (long short short) Fourth-syllable rhymes: a b a b First-syllable rhymes: x y x y Second-syllable rhymes: s s t t Stanza 1 V adoro, pupille, saette d amore le vostre faville so grate nel sen Stanza 2 Pietose vi brama il meso mio core ch ogn ora vi chiama l amato suo ben I adore you, eyes, Cupid s darts Your sparks are welcome in my breast. My sad heart craves your mercy forever calling you its dearest love.
24 Da Capo Aria A Stanza 1 a b A Stanza 1 repeated with variance a b B Stanza 2 c d da Capo A Stanza 1 a b A Stanza 1 repeated with variance a b
25 First Stanza Opening Ritornello Usually self-contained with a full close in the tonic A Stanza 1 a b HC PAC Moves harmonically from I to the standard secondary key (typically V)
26 First Stanza Repeat Second Ritornello Shorter, in the secondary key A Stanza 1 a b PAC May begin in an entirely new key Eventually moves back to the tonic Sometimes may act developmentally
27 Third Ritornello Third Ritornello In the tonic key Brings the section to a close Will close the entire aria after the da Capo
28 Second Stanza B Stanza 2 c d PAC Often in a contrasting key or style Generally stated only once, with or without internal repetitions Can be dramatically different in key, tempo, and meter Often ends in the minor or with a Phrygian cadence, preparing for the da Capo
29 Da Capo Opening Ritornello May be omitted, or shortened da Capo A Stanza 1 a b A Stanza 1 repeated with variance a b Typically ornamented Sections may be improvised, as long as they keep to the basic form Cadenzas can occur, typically before the final b statement.
30 Final Ritornello Final Ritornello In the tonic key Brings the entire aria to a close
31 Handel V adoro, pupille from Giulio Cesare Renée Fleming and the Orchestra of the 18th Century
33 Dal Segno Aria In a dal segno aria, the return is not back to the very beginning, as in the da capo, but somewhere later, as a technique to shorten the return of A. Typically the return was at the second solo (A ) rather than the first. If the second solo was in the secondary key, composers might write out the first solo and then mark the segno at A where the tonic return occurs. Or they might provide a version of A, adjusted to stay in the original tonic key.
34 Dal Segno Aria Bach: Mein Jesu, ziehe mich nach dir (BWV 22) The return to the tonic key for A gives this aria a distinct sonata-form character.
35 A (Exposition) R 1 c minor 1(P) 13 c minor Rf 15 1(P) 18 2 (1S) 22 Eb Maj 3 (2S) 26 3 (2S) 29 Rf 33 Eb Maj B (Development) 4 36 g minor 5 40 f minor 6 42 Rf 44 Ab Maj 6 (part) 45 c min HC Rf (retr) 48 c minor A (Recapitulation) Rf 49 c minor 1(P) 53 c minor Rf 55 1(P) 58 2 (1S) 62 c minor 3 (2S) 66 R 73 c minor Mein Jesu, mich nach dir Ich bin bereit, ich will von hier Und nach Jerusalem zu deinem Leiden gehn Wohl mir, wenn ich die Wichtigkeit Von dieser Leid- und Sterbenzeit Zu meinem Troste kann durchgehens wohl verstehen! My Jesus, draw me after you I am ready, I am ready to leave here And go to Jerusalem to your passion It is a good thing when I understand The importance of this time of suffering and death thoroughly to my comfort!
37 Three-Part Song Form Mozart: Un auro amoroso, No. 17 from Così fan tutte A breath of love from our treasures will afford our hearts sweet sustenance. A heart nourished on the hope of love has no need of greater inducement.
38 Part I: Contrasting Double Period a PAC Un aura amorosa del nostro tesoro Period 1 b HC un dolce ristoro al corporgerà Period 2 c d HC; V ped IAC Un aura amorosa del nostro tesoro un dolce ristoro al corporgerà d PAC; quasi-codetta un dolce ristoro al corporgerà
39 Part II: Phrase Group e f HC in V IAC in V Al cor che nudrito da speme d amore d un esca migliore bisogno non ha g extended; PAC in V d un esca migliore bisogno non ha
40 Part III: Contrasting Double Period a PAC Un aura amorosa del nostro tesoro Period 1 b HC un dolce ristoro al corporgerà Period 2 c d HC; V ped IAC Un aura amorosa del nostro tesoro un dolce ristoro al corporgerà d PAC; quasi-codetta un dolce ristoro al corporgerà
42 Second Rondo Second Rondo with three stanzas of text: Gluck: Che faro senza Euridice? from Orfeo ed Euridice.
43 Ritornello A I PAC Che farò senza Euridice? Dove andrò senza il mio ben? Che farò? Dove andrò? Che faro senza il mio ben? Dove andrò senza il mio ben? What shall I do without Eurydice? Where shall I wander, What shall I do? Where shall I wander? What shall I do without her? Where shall I wander without her? B A V PAC I PAC Euridice! Euridice! Oh dio! Rispondi! Rispondi! Io son pure il tuo fedel. Che farò senza Euridice? Dove andrò senza il mio ben? Che farò? Dove andrò? Che faro senza il mio ben? Dove andrò senza il mio ben? Eurydice! Eurydice! Oh please answer! Answer! I am ever faithful to you. What shall I do without Eurydice? Where shall I wander, What shall I do? Where shall I wander? What shall I do without her? Where shall I wander without her? Transition C V ped. HC A I Ritornello Euridice! Euridice! Ah! Non m avanza più soccorso, più speranza, né dal monto, né dal ciel! Che farò senza...etc. Eurydice! Eurydice! No hope, or succour, are now left to me from mortals or from Gods. What shall I do without...etc.
45 Operatic Rondò Extensive operatic aria in two parts: Slow section Fast section Emerged in the 18th century and began to replace the da capo aria during the 1770s.
46 Operatic Rondò Slow Fast Ritornello 1 Solo 1 Ritornello 2 Solo 2 Ritornello 3 I I-V-I I I mod V-I I
47 Operatic Rondò Mozart: Per pieta, from Così fan tutte Fiordiligi expresses her torment at being in love with two different men. In part 1, Adagio, she expresses remorse for her unfaithful thoughts and pledges to be faithfl to her fiancé. In part 2, Allegro moderato, she chastises herself and reaffirms her fidelity.
48 Operatic Rondò The inner ritornelli in this aria are very short transitions or links, rather than being complete sections. They aren t indicated in the analysis chart, given their brevity.
49 Operatic Rondò In the aria, the middle of the Allegro moderato brings back the text from the Adagio, a characteristic practice of this form.
51 Lied: Early Bar Form (AAB) can be traced back to the surviving ancient Greek music. Very common in monophonic medieval song (troubadours, trouvères, Minnesingers, etc.)
52 Bar Form The stanzaic form of the song may be somewhat different from the musical form -- always check both. Bar form can take a wide variety of sub-forms In particular, the B section can be quite involved, and may even feature returns to material from the A section.
53 Bar Form Most pieces in bar form are strophic, in that the basic musical setting AAB is used to set a number of poetic verses. Strophic always refers to multiple stanzas of text which are set to the same melodic structure.
54 Bar Form Bernart de Ventadorn (12th century, 2nd generation troubadour): La dossa votz Strophic Musical form: AAB Verse form: A B A B C D B E
55 ! A # A 1! La B dos - sa votz ay au - zi da 2 del ros - si - nho - let sal va tge! A' # A 3! que B' m'es dins lo # cor sa lhi da 4 si que tot lo cos - si - ri er! C # # 5 el mal - tratz c'a - mors me do na! D # # B 6! me B'' leu - ja e # m'as sa # zo # na 7 et au - ri - am be mes tier! 8 E au - tre joi a mon damp - na tje.
57 Lied Three-Part Song Forms are common Strophic or non-strophic The return to A can be verbatim or changed
58 Lied Brahms: O kühler Wald (Five Songs, Op. 72, No. 3) Three-Part Song form with altered A
59 Part I: Parallel Period by Transposition (ending on HC) #$ $ $ $! O 1-4: a (antecedent) HC! & ' (! & ' ( '! ' küh - ler Wald, wo rau - schest du, in dem main Leib-chen geht? 5#$ $ $ $5-10: a' (consequent) expansion in the middle (8-9) HC! & ' (! & ' ( '! ) ' ) ' $ ' ( * O Wie-der- hall, wo lau-schest du, der gern mein Leid, mein Leid ver- steht? Part II: Single phrase (3 measures) 11 # $$ $ $ * * ' Im + Her $' $+ - zen tief, )' da Part I: Parallel Period by Contour (expanded consequent, ending on IAC) 14 #$ $ $ $! rauscht 14-17: a (antecedent) 2 HC & '!! & '! '! $ ' der Wald, da rauscht der Wald, in dem mein Leib-chen geht, : a (consequent) 3 HC '!!, $!, '! ' ' # $$ $ $ in Schmer - zen schlief der Wie - der- hall, die Lie - der sind ver - weht, 23 #$ $ $ $ 23-28: extension of 18-22; second half of the phrase repeated IAC - '! ) '! ) + ( *. die Lie-der sind ver weht, sind ver - weht Oh cool forest in which my darling walks, where do you murmur? Oh Echo which gladly understands my song, where do you listen? There murmurs the forest, deep in my heart, in which my darling walks, The Echo sleeps in sorrow, the songs are dispersed, are dispersed.
Jonathon Feinstein Musicianship 1 Final Analysis Zärtliche liebe Ludwig van Beethoven Ludwig van Beethoven is acknowledged as one of the giants of classical music; occasionally he is referred to as one
The HIGH BAROQUE: George Frederic HANDEL (1685-1759) George Frederic HANDEL Born and dying in the same year as J. S. Bach, Handel s career is the opposite of Bach s: Handel is cosmopolitan while Bach is
C. Chris Erway Music 382 Assignment 5 From the Baroque to Classical Era: 1650-1800 The history of music from 1650 to 1800 can be described by three major periods: the middle Baroque, the late Baroque /
Year 10 exam: Revision General Theory Staff Notation: stave, score, clefs (treble and bass), bar, double bar line, repeat sign, pitch names, sharp, flat, time signature, note values. Chords: Basic triads
Website Exercise Solutions Chapter 18 Applied Chords Chapter 18: Website Exercise Solutions 1 Exercise 1: Writing applied chords. Given are key and a roman numeral of an applied chord. Add the appropriate
FIRST GRADE CURRICULUM OBJECTIVES MUSIC I. Rhythm 1. interpret notational symbols for rhythm (26.A.1d) 2. recognize and respond to steady beat with movements, games and by chanting (25.A.1c) 3. respond
Illuminating Text: A Macro Analysis of Franz SchubertÕs ÒAuf dem Wasser zu singenó Maureen Schafer In ÒAuf dem Wasser zu singen,ó Franz Schubert embellishes a sentimental poem by L. Graf zu Stollberg to
Examination of Schirmer 2008 publication: 28 Italian Songs and Arias CONTENTS: pg 2 pg 3 pg 4-8 Short summary of the Schirmer volumes and their contents Chart of the five Schirmer volumes indicating what
Chapter 16 Sonata and Suite TRUE/FALSE 1. The harpsichord is not as touch-sensitive an instrument as the piano. ANS: T REF: Chapter 16, "The Harpsichord", pg. 116 2. Arcangelo Corelli could have been considered
MP 1 Sing more difficult tunes as the past years work continues on going Extend the techniques of singing to a higher art form Continue to increase permanent repertoire, recordings, 1.2 Responding to Expand
Teaching Notes 2015 Grade Three Little Reverie Key: A minor Composer: John McLachlan (1964 - ) The left hand melodic line must sing (Cantabile), and legato pedalling is necessary to help sustain the line
AS Music Bach Chorale Cadence exercises These ten chorale exercises (with solutions) are intended for use as EdExcel AS tests, but would also be useful as preparatory tests for other Bach chorale tests.
The Viennese Classical Style Music for an Enlightened Age Five Symphonies 1: Antonio Caldara An opening Sinfonia to a cantata, from the 1720s Essentially Baroque Contrapuntal texture Use of harpsichord
Western Australian K-10 Syllabus The Arts ADAM HALL AND THE VPs The following curriculum links to the Western Australian K-10 Syllabus The Arts have been created from: K-10 Overview: The Arts/ http://www.curriculum.wa.edu.au/internet/years_k10/curriculum_resources
Framework for Lesson Plans It is important that students are always being presented with new concepts or elements while simultaneously practicing known concepts in each lesson. In your introductory lecture,
Franz Joseph HAYDN (1732-1809) Franz Joseph HAYDN (1732-1809) Born in last year of the Baroque and lives into the late Classic period Franz Joseph HAYDN (1732-1809) Influences: Style Galant of J. C. BACH
Musicianship training The emphasis in Maoin Cheoil is firmly set upon the provision of a complete musical education for all students. The separate but vital skills of Aural Training and Theoretical knowledge
National Standards for Music Education 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising
The Period Two Phrases Become One Structure Definition A period consists of two phrases, joined together in a coherent succession. The two phrases are called the antecedent and the consequent. Period -
Test 3 (The Baroque Era) Student: 1. Baroque style flourished in music during the period: A. 1000-1250. C. 1450-1600. B. 1250-1450. D. 1600-1750. 2. Affections in baroque usage refers to A. the nobility's
Students will: Personal Choice and Vision: Students construct and solve problems of personal relevance and interest when expressing themselves through A. Demonstrate how musical elements communicate meaning
Arlington Public Schools Secondary Vocal/Choral Music Curriculum INTRODUCTION The Secondary Vocal/Choral Curriculum is designed for the vocal development of the choral musician and sets sequential standards
Vinzkorner Contact Details: Vincent W.H. Chan Email: email@example.com ICQ: 2044 3681 Australian Music Examination Board Grade 6 Theory General Knowledge Summary These summary notes are produced to aid
Musical Terms and Concepts Explanations and musical examples can be found through the Oxford Music Online, accessed through the SUNY Potsdam Library page. Click on Music Reference, then Oxford Music Online.
HOCHSCHULE FÜR MUSIK UND THEATER Répétiteur Training Piano Chamber Music Lied interpretation Programmes of study: Bachelor of Music Fields of orientation: Duration of study programme: Degree earned: Area
Please stick the barcode label here. HONG KONG EXAMINATIONS AND ASSESSMENT AUTHORITY HONG KONG DIPLOMA OF SECONDARY EDUCATION EXAMINATION Candidate Number MUSIC PAPER 1 (LISTENING) PART A : MUSIC IN WESTERN
Music Theory IV Final Exam All Chapters H&VL Prof. Andy Brick I pledge my honor that I have abided by the Stevens Honor System. 04/08/08 Due Week of, May 04 2008 Due Week of April 13: Exposition & Development
NCEA Level 1 Music (90016) 2008 Page 1 of 8 Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016) Evidence Statement Q Evidence One SCORE EXTRACT A: Blues for Brass
Music Curriculum Guidelines Diocese of Arlington 2011-2012 Philosophy, Methodology and Usage Philosophy Music instruction continues to be cited as a profoundly positive element of educating young students.
18. Brahms Piano Quintet in F minor, Op. 34: movement III 3 rd Movement (For Unit 6: Musical Understanding) Background information and performance circumstances Biography Brahms composed this piano quintet
Music Standards of Learning for Virginia Public Schools Board of Education Commonwealth of Virginia April 2006 Music Standards of Learning for Virginia Public Schools Adopted in April 2006 by the Board
APPENDIX 1 MUSICAL TERMS 12-bar blues A musical genre of African-American origin based on blues scales, with chord progressions 12 measures long. 32-bar form A song form (AABA) consisting of 32 measures
Listening Guide for Claudio Monteverdi, L'Orfeo, favola in musica A concordance between the 1609 printed score, Anne Ridler s English translation (in volume two of the sourcebook), and the recording by
MUSC1 Set work study notes Haydn Symphony No 104 in D major These study notes are intended to help teachers and students prepare for the new set work. It is not an examination board definitive, nor exhaustive,
Section I: Harmonization (1 hour) Complete the following exercise in four-part chorale style. Treat each pitch as a chord tone; you must use idiomatic, common-practice chord progressions in your composition.
Week 10 Lecture Notes p.1 Renaissance to Baroque Interest shifted from elaborate polyphony to monody ( one song ), solo song with instrumental accompaniment. Use of dynamics became more nuanced. Not specified
BSIC COUSTIC GUITR Basic coustic Guitar For Leader ForThe The Worship Worship Leader Scott Cunningham Foundational spects of the coustic Guitar Introduction: One of the most challenging parts of learning
Duke Ellington School of the Arts Music Department Course Syllabus and Outline U62-08 AP Music Theory Instructor: Steven M. Allen, DMA Period: 8 Email: firstname.lastname@example.org Room: 208 Engrade: sallen8519
MUS 101 MUS 111 MUS 121 MUS 122 MUS 135 MUS 137 MUS 152-1 MUS 152-2 MUS 161 MUS 180-1 MUS 180-2 Music History and Literature Identify and write basic music notation for pitch and Identify and write key
Program and Notes Andre Bohren, Piano Works to Be Performed Sonata No. 12 in F Major, K. 332 Wolfgang Amadeus Mozart (1756-1791) Allegro Adagio Allegro assai Four Impromptus, Op. 142, D. 935 Franz Schubert
HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors COMPETENCIES GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive,
A Correlation of Silver Burdett Making Music Model Content Standards for Music INTRODUCTION This document shows how meets the Model Content Standards for Music. Page references are Teacher s Edition. Lessons
N5 X750/75/0 FOR OFFICIAL USE National Quali cations 205 Mark Music FRIDAY, 8 MAY :00 PM :45 PM *X750750* Fill in these boxes and read what is printed below. Full name of centre Town Forename(s) Surname
Classical Era (1750 1820) European Musical Styles I. Transition period (1730 1770): overlaps with end of Baroque A. Development of style galant: rejection of complex polyphony in favor of lighter, homophonic
Programme of Study and Success Criteria for Key Stage 3 - MUSIC Programmes of Study Year 7 Unit 1 Understanding the elements of music Learn about each element of and how it works in a piece of music Develop
National Standard: 2c, 6c Music Target 5th: Music Target 6th: Respond to common metric patterns Explore the use of percussion to create textural accompaniment Part 1-Double, Double, This, This Objectives:
ART Entry Name Originality Consider: Exhibits creativity Craftsmanship Consider: Artist s skill in the use of material Elements of Art Consider: Line, color, space, form, media, texture Composition Consider:
Name: Class: WORKSHEET ACTIVITIES UNIT 3 Worksheet activity 1 ( Passerby ) 1 What instruments and voices are heard in the song? 2 Which instrument is featured in the introduction? 3 Which instruments are
Lesson KKK Modulation 1 Introduction: Until now, these lessons have focused on relatively small-scale musical events. Our discussion has focused on topics such as voice leading and the relationships between
Music, Grade 11, University/College Preparation (AMU3M) This course emphasizes the appreciation, analysis, and performance of various kinds of music, including baroque and classical music, popular music,
North Carolina s Kindergarten Music Note on Numbering/Strands: ML Musical Literacy, MR Musical Response, CR Contextual Relevancy Musical Literacy K.ML.1 Apply the elements of music and musical techniques
SPECIMEN MATERIAL GCSE MUSIC 8271 Specimen 2018 Time allowed: 1 hour 30 minutes General Certificate of Secondary Education Instructions Use black ink or black ball-point pen. You may use pencil for music
Poetry Notes Mrs. DiSalvo English 9 Poetic Structure: Stanzas Poetic Structure Stanza: a group of two or more lines forming a unit of poetry; sometimes have the same number of lines, often have the same
SUMMER ACADEMY IN ITALY 13-26 JULY 2015 SUMMER ACADEMY IN ITALY 13-26 JULY 2015 authentic instruments with students and young professional musicians, as well as to train a generation of young singers in
The Influence of Handel s Passacaglia from Keyboard Suite No. 7 HWV 432 on Halvorsen s Passacaglia in G minor for Violin and Viola Jessica Emery George Frideric Handel s Passacaglia from Keyboard Suite
NAM 1: Brandenburg Concerto No. 4 (Movement 1) J. S. Bach Context Bach wrote six Brandenburg Concertos composed between 1717 and 1721. Concerto No.4 in G is an example of Concerto Grosso Two main types
Music Policy & Curriculum 2015 Overview This policy reflects the requirements of the national curriculum framework; the Areas of Learning and Early Learning Goals within the Foundation Stage Curriculum
Royal Canadian College of Organists National Office 204 St. George Street, Suite 202, Toronto, Ontario, M5R 2N5 Phone (416) 929 6400 ~ Fax (416) 929-2265 E-mail: email@example.com REQUIREMENTS FOR DIPLOMA
PRELUDE No.4 in E minor HEITOR VILLA-LOBOS (1887-1959) The Cinq Preludes by Heitor Villa-Lobos are among the most popular pieces in the repertoire of the guitar. His works are not only musically striking
NATIONAL STANDARDS for MUSIC EDUCATION 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising
Italian Literature and Repertoire Course# 57431 Mark Carver, Instructor Winter 2011 Course Description Objective: This course will survey Italian repertoire for solo voice. We will examine representative
A Collection of Music Lessons Using Hand Drums and Rhythm Sticks by Music Is Elementary s Music Education Consultant, Roger Sams. A free gift to you from Hand Drums. Rhythm Sticks Teacher recites poem.
Undergraduate Core Curriculum TH101 This course is an introduction to the vertical and linear dimensions of tonal music. After a review of musical fundamentals, in which students will be expected to demonstrate
Week 7 Lecture Notes p.1 Style Periods of Western Music Middle Ages 400-1450 Early Christian Period 400-600 Gregorian Chant 600-850 Romanesque Period Development of Polyphony 850-1150 Gothic Period 1150
Confutatis from Mozart s Requiem One of the most renowned and talented composers in history is Wolfgang Amadeus Mozart. His work has been celebrated for over 200 years, and has paved the way in musical
Musical Knowledge Musical Knowledge sample questions or Trinity College London examinations Initial Violin. What is this sign called? Strongly q = c. 6 Big Small clocks clocks Big Clocks tick quite slow
In General To interpret the music in dancing boogie woogie the dancer have to know something about the music form. Boogie Woogie music is mostly played in blues schemes. Sometimes you can find swing scheme.
Bach Chorales: A Guide. Bach Chorales are meant to be sung by four part harmony SATB, originally for Lueran churches in Germany. Melodies should be someing easy to sing wi a recognisable tune. These melodies
AP Music Theory Quarter 1 UNIT 1: Intervals and Scales Order of flats and sharps Correct location on a staff AP MT.II.3 Notate and identify all major and minor key signatures. AP MT.II.3 Keys can be related
GCSE Music Unit 4 (42704) Guidance (There are recordings to accompany this document.) The Task Students will be required to compose one piece of music which explores two or more of the five areas of study.
W. A. Mozart Sonata in C Major, K.296 Alto Flute Violin part transcribed for Alto Flute in G by John W. Pratt Noteworthy Sheet Music, LLC www.noteworthysheetmusic.com Notes on the Edition Our goal at Noteworthy
Lesson DDD: Figured Bass Introduction: In this lesson you will learn about the various uses of figured bass. Figured bass comes from a Baroque compositional practice in which composers used a numerical
The street is the setting for this unit of buskers and flash mobs. The children explore Ravel s Boléro through rhythmical mime, learn songs with instrumental accompaniments, and create a dance to build
THE GEIRD PROJECT SIX-MINUTE WALK TEST PROTOCOL Researchers using these materials are requested to inform the GEIRD Coordinating Centre and cite the source appropriately. For further information and contacts,
L i n e a r J a z z I m p r o v i s at i o n The Method Book 1 Ed Byrne LINEAR JAZZ IMPROVISATION The Method Book 1 Ed Byrne Dr. Ed Byrne 2001 CONTENTS INTRODUCTION 2 1. MELODY AND RHYTHM REDUCTION, COMPRESSION
Scale- A scale is a series of pitches in ascending order, such as D E F G A B C D. There are many kinds of scales, which differ in how many different pitch names they use, and in the pattern of steps they
2-Voice Chorale Species Counterpoint Christopher Bailey Preamble In order to make the leap from composing in a 4-part chorale style to composing in a freetexture style, we will first re-think the process
Lesson Theory The (Western) Musical Scale For each KEY, the musical scale corresponds to the 7 (out of 1) commonly used notes for that key. In Lesson 1, you learnt how to figure out which seven notes are
SPECIMEN General Certificate of Secondary Education Music B354 Unit B354: Listening Paper Specimen Paper Candidates answer on question paper: Additional Materials: Time: 1 hour 30 minutes Candidate Forename