1. Look at the music and answer the questions below.
|
|
|
- Ashlynn Clare Sherman
- 7 years ago
- Views:
Transcription
1 1. Look at the music and answer the questions below. a. Name the KEY SIGNATURE used in this piece b. Give the bar numbers where the music is at it s loudest c. Name the ornament used in bar 4. d. Name the ornament used in bar 6 e. Give the full meaning of mp used in bar 1. f. Name the direction given to the player in bar 7. g. Give the total number of bars performed in this music. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 1
2 2. Look at the music and answer the questions below. a. Name the KEY SIGNATURE used in this piece. b. Name the ornament used in bars 1 and 3. c. Inset an appropriate dynamic at bar 3. d. Name the sign used in bar 4 e. Name both notes used in bar 5. f. Name the symbol used in bar 6. g. Give a melodic concept to describe bar 7. h. In full, how many bars are performed above? H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 2
3 3. Look at the music and answer the questions below. a. Insert the correct TIME SIGNATURE. b. Name the KEY SIGNATURE in this piece. c. Describe the dynamic marking in bar 1. d. Name the ornament used in bar 3. e. Give a dynamic marking that could be used in bar 7. f. Name the 3 notes used in bar 6. g. Name the distance of the interval created by the boxed notes in bar 7. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 3
4 4. Look at the music and answer the questions below. a. Name the KEY SIGNATURE used in this music. b. Name the dynamic used in bar 1. c. Name the marking used above the music in bars 1,2, 5 and 6. d. Give a dynamic marking that could be used in bar 4. e. Name the distance of the interval created by the boxed notes in bar 5. f. Describe the tempo marking used in bar 8. g. How many bars of music are performed in this piece of music? H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 4
5 5. Look at the music and answer the questions below. a. Name the ornament used in bar 1 on the music. b. This piece of music is in the key of F Major. What chord is created in bar 3 of the music? c. Name the ornament used in bar 5 of the music. d. Describe what happens in bar 7 of the music. e. What effect happens in the last bar? f. Mark with an A an example of an ANACRUSIS. h. On the stave below, re-write bars 3 and 4 one octave lower on the bass clef. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 5
6 6. Look at the rhythmic concepts below and rearrange into the correct order from slowest to fastest:- ANDANTE ALLEGRO ADAGIO 7. Place the following dynamic markings in order from softest to loudest:- p mf pp ff f 8. Give the meaning of the dynamic sf. 9. Insert the following Key Signatures. C Major F Major G Major A Minor 10. Explain the following musical directions:- CRESCENDO DIMINUENDO 11. Explain the following effect on music:- ACCELERANDO RALLENTANDO H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 6
7 12. Re-write the following passage one octave lower in the Bass Clef. 13. Re-write the following passage one octave lower in the Bass Clef. 14. Re-write the following passage at the same pitch on the Bass Clef. 15. Re-write the following passage one octave lower on the Bass Clef. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 7
8 16. Look at the music and answer the questions below. a. Name the KEY SIGNATURE of this music. b. Describe the dynamic direction in bar 1. c. Name the note marked with an X. d. Name the dynamic direction given in bar 4. e. Name the rhythmic symbol used in bar 4. f. Name the note marked with a Y. h. Re-write the music in bars 7-8 at the same pitch on the Bass Clef below. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 8
9 17. Look at the music and answer the questions below. a What performance direction is given in bars 1 and 2 b. Name the KEY SIGNATURE of this music. c. Mark with an X an example of an ANACRUSIS. d. Name the loudest bar in this music. e. Give the distance of the interval created in bar 6. f. Give the distance of the interval created in bar 8. g Name the rhythmic figure at the beginning of the music and in bar 4. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 9
10 18. Look at the music and answer the questions below. a Name the KEY SIGNATURE used in this music. b. Circle one group of semiquavers. c. Place a bracket over an example of a SEQUENCE. d. Insert the missing BAR LINES on lines 3 and 4. e. Name the two quietest notes in this piece of music. f. Insert a tempo marking at the appropriate place in order for the music to be performed at a fast pace. g Name the distance between the final two notes. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 10
11 19. Complete the following table by inserting the missing information. Note Name Rest Value semiquaver e e. q h w paired quaver 1 1/2 3 H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 11
12 20. Look at the music and answer the questions below. a. The Key Signature in this piece should be F Major. Insert the key signature at the appropriate places. b. What music concept describes bars 1 and 2? c. Name the distance of the interval boxed in bar 5. d. Name the Ornament used in bar 8. e. Mark with an X an example of an ANACRUSIS. f. What expression marking is found in the last bar? g Circle an example of a Descending Scale. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 12
13 21. Look at the music and answer the questions below. a. Name the distance of the interval boxed in bar 1. b. The key of the music is G Major. Insert the key signature at the appropriate place. c. Name the note maked with an X. d. Insert the correct symbol to show the volume getting louder from bar 3. e. Insert the correct symbol to show the volume getting quieter from bar 6. f. Insert the correct dynamic marking for bars 5 and 6. g Insert the correct Time Signature at the appropriate place. h Make with an X an example of an ANACRUSIS. i Re-write the second line one octave lower on the Bass Clef below. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 13
14 22. Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 4/ Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 3/4 24. Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 4/4. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 14
15 25. Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 6/ Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 4/ Look at the following piece of music. Insert the missing BAR LINES at the appropriate places. The music is in 6/8. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 15
16 28. Look at the following music. Name in full the notes shown on the BASS CLEF. 29. Look at the following music. Name in full the notes shown on the BASS CLEF. 30. Look at the following music. Name in full the notes shown on the BASS CLEF. 31. Look at the following music. Name in full the notes shown on the BASS CLEF. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 16
17 32. Look at the following piece of music. Note below if the music is in SIMPLE TIME or COMPOUND TIME. 33. Look at the following piece of music. Note below if the music is in SIMPLE TIME or COMPOUND TIME. 34. Look at the following piece of music. Note below if the music is in SIMPLE TIME or COMPOUND TIME. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 17
18 35. Look at the following piece of music. Note below if the music is in SIMPLE TIME or COMPOUND TIME. 36. Look at the following piece of music. Insert the Time Signature and note below if the music is in SIMPLE TIME or COMPOUND TIME. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 18
19 37. Look at the following piece of music. Insert the Time Signature and note below if the music is in SIMPLE TIME or COMPOUND TIME. 38. Look at the music below. You must name the KEY SIGNATURE and then name each of the following chords I, IV, V or VI.. Key Signature is Chords 39. Look at the music below. You must name the KEY SIGNATURE and then name each of the following chords I, IV, V or VI.. Key Signature is Chords H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 19
20 40. Look at the music below. You must name the KEY SIGNATURE and then name each of the following chords I, IV, V or VI.. Key Signature is Chords 41. Look at the music below. You must name the KEY SIGNATURE and then name each of the following chords I, IV, V or VI.. Key Signature is Chords 42. Look at the music below. Decide if the distance between the notes is a TONE or a SEMITONE. (T or S). H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 20
21 43. Look at the music below. Decide if the distance between the notes is a TONE or a SEMITONE. (T or S). 44. Look at the music below. Decide if the distance between the notes is a TONE or a SEMITONE. (T or S). 45. Look at the music below. Decide if the distance between the notes is a TONE or a SEMITONE. (T or S). 46. Look at the music below. Decide if the distance between the notes is a TONE or a SEMITONE. (T or S). H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 21
22 47. Look at the music below. Insert one or more RESTS at the places marked with an X to make the music complete. 48. Look at the music below. Insert one or more RESTS at the places marked with an X to make the music complete. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 22
23 49. Look at the music below. Insert one or more RESTS at the places marked with an X to make the music complete. 50. Look at the music below. Insert one or more RESTS at the places marked with an X to make the music complete. 51. Look at the music below. Insert one or more RESTS at the places marked with an X to make the music complete. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 23
24 52. Look at the music below. Insert the correct CHORD I, IV, V or VI in each of the boxes above the music. Ths Key is F Major 53. Look at the music below. Insert the correct CHORD I, IV, V or VI in each of the boxes above the music. Ths Key is C Major 54. Look at the music below. Insert the correct CHORD in each of the boxes above the music. Ths Key is G Major H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 24
25 55. Look at the music below. Insert the correct CHORD in each of the boxes above the music. Ths Key is C Major 56. Look at the music below. Insert the correct CHORD in each of the boxes above the music. Ths Key is C Major 57. Name the following signs and symbols:- H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 25
26 58. Name the following signs and symbols. 59. Name the following signs and symbols. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 26
27 60. Look at the music and answer the questions below. a Insert the correct TIME SIGNATURE at the appropriate place in the music. b. Describe the dynamic used in bar 1. c. Circle an example of an interval of a 4 th, d. Describe the dynamic used in bar 4. e. Place an S over an example of a SEMITONE. f. Name the ACCIDENTALS used in bar 7. g Place a tempo marking on the music indicating a slow pace. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 27
28 61. Look at the music and answer the questions below. a. Insert the correct Time Signature at the appropriate place in the music. b. Place (4 th ) over an example of an interval with the distance of a 4 th. c. Place 1 st and 2 nd Time Bar endings over the final two bars. d. Mark with an X an example of an ANACRUSIS. e. Place (3 rd ) over any example of an interval with the distance of a 3 rd. f. Place S over any example of a SEMITONE. g. Place a tempo marking at the beginning of the music to indicate a fast speed. h. Is this music in SIMPLE or COMPOUND time? H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 28
29 62. Look at the music and answer the questions below. a. Complete the ASCENDING scale in bar 3 using the quavers given. b. Insert the missing rest in bar 4 to complete the music. c. The key is F major. Insert the correct chords, I, IV, V or VI in the boxes above bar 7. d. Insert a sign at bar 8 to indicate a repeat. e. Insert a tempo marking at the beginning of the music to indicate a slow pace. f. Name the distance of the interval created by the first two notes of the music. g. Re-write the last 3 bars of the music one octave lower on the Bass Clef. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 29
30 63. Look at the music and answer the questions below. a. Insert the correct TIME SIGNATURE at the appropriate place on the music. b. Name the distance of the interval created by the boxed notes in bar 1. c. Give the letter name of each of the 3 notes marked with X in bar 4. d. Insert a repeat sign in bar 4. e. Insert a 2 nd time bar to make the music complete. f. Name the KEY SIGNATURE used in this music. g. Insert a tempo marking to indicate the music is to be played at a moderate pace. h. Circle any other example of an interval of a 3 rd on the music. i. What interval is created by the final two notes on the music. j. How many bars in total will be performed in this piece of music. k. What is the dynamic marking at the beginning of the music? H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 30
31 64. Look at the music and answer the questions below. a. Insert the correct TIME SIGNATURE. b. Name the symbol used above the music in line one. c. Describe the dynamic marking at the beginning of the music. d. Continue the SEQUENCE, started in bar 5, into bar 6. e. Place S over any other example of a SEQUENCE. f. Is this music in SIMPLE or COMPOUND time? g. Add a tempo marking at the beginning of the music to indicate a moderate pace. h. Name the sign used above the final note. i. Insert the missing rest in bar 8 to make the music complete. j. Name the sign used through bar 3. k. Name the sign used through bar 7. H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 31
32 65. Look at the music and answer the questions below. a. Insert the correct TIME SIGNATURE. b. The the interval created in bar 1 of the music. c. Name the rhythmic effect used throughout this music. d. Look at bars 1-2 and 3-4. Is the music in bar 3-4 one TONE or one SEMITONE above the music in bar 1-2? e. Insert the correct sign to make the music 16 bars long. f. Add a TEMPO marking at the beginning of the music to indicate a slow pace. g. Place a S over an example of a SEMITONE. h. Describe the 3 dynamic markings used in this piece: mf f ff H i g h e r M u s i c M u s i c a l L i t e r a c y : D M G Page 32
Music Theory. Level 1. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 1 Student s Name: Class: American Language Version Printable Music Theory Books Level One Published by The Fun Music Company
GRADE THREE THEORY REVISION
GRADE THREE THEORY REVISION Note Pitches Use flashcards to make sure you know all your notes including leger lines. Whenever you name a note remember to check the clef, keysignature, and for accidentals
Music Theory Worksheet. Music Theory 1
Music Theory 1 Photocopiable Worksheets on Music Theory 1 INTRODUCTION TO THE STAVE & NOTATION The way we write music down has changed a great deal through the centuries but today we use a series of 5
Tonic- The main pitch in tonal music, and also the first (and last) letter of a major or minor scale.
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
MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B).
MMTA Exam Requirements Level 3 and Below b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). c. Staff and grand staff stem placement. d. Accidentals: e. Intervals: 2 nd
Viola Time Book 2. RGP (Release, Glide and Press) Shifting Method 2
Viola Time Book RGP (Release, Glide and Press) Shifting Method st Finger shifting without accidentals Exercise : st-rd Position shifting in C major Scale and arpeggio of C major Kayaking Down the Tarwin
At the piano; learning a natural hand position; the steady beat; pre-reading: two black keys Learning finger numbers, posture, and arm weight;
PREPARATORY 0 1 At the piano; learning a natural hand position; the steady beat; pre-reading: two black keys Learning finger numbers, posture, and arm weight; pre-reading: three black keys; double bar
Guitar Rubric. Technical Exercises Guitar. Debut. Group A: Scales. Group B: Chords. Group C: Riff
Guitar Rubric Technical Exercises Guitar Debut In this section the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below. Groups A and B contain examples
Basic Music Theory. Reading Different Clefs
1 Basic Music Theory Reading Different Clefs The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Leaving Cert. Music. Clef reading
Students' guide: Area of study 1 (The Western classical tradition 1650-1910)
Students' guide: Area of study 1 (The Western classical tradition 1650-1910) This resource gives students a breakdown of Haydn's Symphony 101 in D major 'The Clock' movt. 2. It also offers guidance on
Parameters for Session Skills Improvising Initial Grade 8 for all instruments
Parameters for Session Skills Improvising Initial for all instruments If you choose Improvising, you will be asked to improvise in a specified style over a backing track that you have not seen or heard
A short guide to passing the Grade 5 Theory Examination
A short guide to passing the Grade 5 Theory Examination Brian Pickering November 2009 A short guide to passing the Grade 5 Theory Examination Introduction NB This guide does not give you everything you
Bell Music Reading Course #1 Introduction 101. D. Rod Lloyd Columbia River Handbells 2010
Bell Music Reading Course #1 Introduction 101 D. Rod Lloyd Columbia River Handbells 2010 1 How Music Works Music is a graphical presentation of sounds played in a precise, predetermined order. Music is
C Major F Major G Major A Minor
For this task you will create a 16 bar composition with a Ground Bass Accompaniment. REMINDER A chord is built on the notes 1 3 5 of a scale. e.g. chord of C would have the notes C E G. The first note
8 th grade concert choir scope and sequence. 1 st quarter
8 th grade concert choir scope and sequence 1 st quarter MU STH- SCALES #18 Students will understand the concept of scale degree. HARMONY # 25. Students will sing melodies in parallel harmony. HARMONY
MIDISAURUS MUSIC ~ Contents Guide ~ MIDISAURUS MUSIC MIDISAURUS MUSIC - Table of Contents Introduction High & Low in Music Fast & Slow in Music Sounds Around Us The Musical Keyboard Black & White Keys
Easy to Follow Guide On: How to Play the Piano
Easy to Follow Guide On: How to Play the Piano Composed by: Kim Gardner - 1 Table of Contents Unit 1 - Beginning in the Middle...Page 3 Unit 2 - Learning to Read the Beautiful Language of Music.Page 6
An Introduction to Chords
1 An Introduction to Chords by David Gilson A chord is the musical sound produced by playing a number of notes at the same time. The sound of the chord is different depending on the key you are playing
Introduction to Chords For Jazz Band
Introduction to Chords For Jazz Band First, let s start with a major scale and review the scale degrees. We refer to the distance between two notes as an interval, and an interval has two aspects: the
ADAM HALL AND THE VPs
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
HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com
1 HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com WHAT IS A SCALE? A scale is all the pitches that you can play in a key signature without playing any accidentals. The key of Bb is Bb and
AP MUSIC THEORY SUMMER ASSIGNMENT
AP MUSIC THEORY SUMMER ASSIGNMENT AP Music Theory Students and Parents, You are receiving this letter because you or your son/daughter is enrolled in AP Music Theory for this next school year. Please take
22. Mozart Piano Sonata in B flat, K. 333: movement I
22. Mozart Piano Sonata in B flat, K. 333: movement I (for Unit 3: Developing Musical Understanding) Background Information and Performance Circumstances Biography Mozart was born in Austria on the 27
Basic Music Theory for Junior Cert.
1 Reading Different Clefs Basic Music Theory for Junior Cert. The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Junior Cert. Music.
Section C 1. Major 2. minor 3. Major 4. Major 5. minor. Section C 1. 3/4 2. 4/4 3. 4/4 4. 3/4. Section C 1. Whole 2. Half 3. Half 4. Whole 5.
5/11/14 The full Answer Keys with points breakdowns for the 2013-2014 GMTA Theory Tests will be posted as soon as they become available. Until then, here are the answers for the Ear Training sections of
INTERVALS. An INTERVAL is the distance between two notes /pitches. Intervals are named by size and quality:
Dr. Barbara Murphy University of Tennessee School of Music INTERVALS An INTERVAL is the distance between two notes /pitches. Intervals are named by size and quality: Interval Size: The size is an Arabic
MUSIC A. PROGRAM RATIONALE AND PHILOSOPHY
MUSIC A. PROGRAM RATIONALE AND PHILOSOPHY The systematic development of musical skills, knowledge and perception is fundamental to the total development of the individual. Music education should begin
Ü F F F F F F : F F ÜF H H H H H ÜH H H H HÜH. : H r H H HH H H. H H H H r Ü H CHORDS FROM SCALES
CHORDS ROM SCALES This tutorial is all about making chords out of scales. irst step is to catch a fish - not any old fish but a musical one. A bass, for instance. Not really. Read on. CHORDS ROM SCALES
Lesson DDD: Figured Bass. Introduction:
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
PERPETUAL MOTION BEBOP EXERCISES
PERPETUAL MOTION BEBOP EXERCISES Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html Bebop is much more than just one particular style, it is pretty much the grammar of modern jazz, and bebop licks are
MUSC1 Set work study notes Haydn Symphony No 104 in D major
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,
TEACHER S GUIDE to Lesson Book 1B
Alfred s Basic Piano Library TEACHER S GUIDE to Lesson Book 1B PURPOSE To suggest an order of lesson activities that will result in a systematic and logical presentation of the material in Lesson Book,
Teaching Notes 2015. Grade Three
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
Curriculum Mapping Electronic Music (L) 4202 1-Semester class (18 weeks)
Curriculum Mapping Electronic Music (L) 4202 1-Semester class (18 weeks) Week Standard Skills Resources Vocabulary Assessments Students sing using computer-assisted instruction and assessment software.
THE PRIMARY EDUCATION MUSIC CURRICULUM OF CYPRUS
THE PRIMARY EDUCATION MUSIC CURRICULUM OF CYPRUS PRIMARY EDUCATION MINISTRY OF EDUCATION AND CULTURE NICOSIA CYPRUS 2003 The Primary Education Music Curriculum of Cyprus Introduction Music as a discipline,
SYMPHONY #9 ANTONIN DVORAK
SYMPHONY #9 ANTONIN DVORAK Dvorak s Symphony #9 is one of the most beloved works in the symphonic repertoire. Having had the experience of conducting it many times, I have accumulated a list of ideas,
mtcmusic@sympatico.ca
Presented by Tom Ansuini mtcmusic@sympatico.ca Music Education for the 21 st Century Active Teaching through ICT A brief Introduction Please allow me to introduce myself. My name is Tom Ansuini and I am
Music Music: Grade 4 Product Performance GLE 1: Develop and apply singing skills to perform and communicate through the arts
Expressive Singing Independent Singing : Grade 4 Product Performance GLE 1: Develop and apply singing skills to perform and communicate through the arts : knowledge of process and techniques for the production,
Musical Knowledge. Musical Knowledge sample questions for Trinity College London examinations
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
Fundamentals Keyboard Exam
Fundamentals Keyboard Exam General requirements: 1. Scales: be prepared to play: All major and minor scales (including melodic minor, natural minor, and harmonic minor) up to five sharps and flats, ith
Learning to play the piano
Learning to play the piano INTRODUCTION TO THE KEYBOARD... 2 STEPPING UP... 2 TREBLE SPACES... 7 BASS SPACES... 9 TIME SIGNATURE... 12 UP AND DOWN THE HILLS... 15 UP AND DOWN THE HILLS IN G MAJOR... 16
UNISA THEORY OF MUSIC SYLLABUSES PREGRADE 1 GRADE 5. 2011 (until further notice) Directorate of Music University of South Africa PRETORIA
UNISA THEORY OF MUSIC SYLLABUSES PREGRADE 1 GRADE 5 2011 (until further notice) Directorate of Music University of South Africa PRETORIA Revised Edition 2011 (ii) Copyright 2011 by Unisa All rights reserved
Musical Literacy. Clarifying Objectives. Musical Response
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
Sample Entrance Test for CR125-129 (BA in Popular Music)
Sample Entrance Test for CR125-129 (BA in Popular Music) A very exciting future awaits everybody who is or will be part of the Cork School of Music BA in Popular Music CR125 CR126 CR127 CR128 CR129 Electric
Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor
Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands
MUSIC GLOSSARY. Accompaniment: A vocal or instrumental part that supports or is background for a principal part or parts.
MUSIC GLOSSARY A cappella: Unaccompanied vocal music. Accompaniment: A vocal or instrumental part that supports or is background for a principal part or parts. Alla breve: A tempo marking indicating a
Progression of Learning in Secondary School Music
1 Progression of Learning in Secondary School Music August 20, 2010 2 Table of Contents Progression of Learning in Secondary School 3 Introduction 5 Knowledge 6 Applications of Knowledge 11 Competency
National Quali cations 2015
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
SVL AP Music Theory Syllabus/Online Course Plan
SVL AP Music Theory Syllabus/Online Course Plan Certificated Teacher: Norilee Kimball Date: April, 2010 Stage One Desired Results Course Title/Grade Level: AP Music Theory/Grades 9-12 Credit: one semester
Tips and Ideas for Your IWB Software
Notes 2013 Tips and Ideas for Your IWB Software Katie Wardrobe Midnight Music Using These Notes... 3 General Skills to Learn... 3 Gathering and Organising Your Materials...3 Interactive Listening Project
MTRS Publishing 2004 Copying allowed only for use in subscribing institution www.mtrs.co.uk
20th Century Dance Music The Tango The Tango is a dance from Argentina. It developed in the city of Buenos Aires around the red light areas of the city, around the docks. For a time, it was discouraged
Everyone cringes at the words "Music Theory", but this is mainly banjo related and very important to learning how to play.
BLUEGRASS MUSIC THEORY 101 By Sherry Chapman Texasbanjo The Banjo Hangout Introduction Everyone cringes at the words "Music Theory", but this is mainly banjo related and very important to learning how
MIDI messages. March 2001 Edition 1.4
March 2001 Edition 1.4 MIDI messages (For MIDI specialists only!) MIDI is that most rare of beasts, a standard set by a number of different manufacturers that is universally implemented and supported.
Investigating: Improvisatory styles of Megadeth
Music Extension 2008 Sample assessment instrument and student responses Investigating: Improvisatory styles of Megadeth This sample is intended to inform the design of assessment instruments in the senior
Scales and Arpeggios. Absolute Beginners. By J.P. Dias
Scales and Arpeggios Absolute Beginners By J.P. Dias opyright 2004-2005 To Paula ontents Introduction...8 1. Basic of Reading Music...9 2. Major Modes...10 4. Minor Scales...24 3. Pentatonic Scales...30
Unit Overview Template. Learning Targets
ENGAGING STUDENTS FOSTERING ACHIEVEMENT CULTIVATING 21 ST CENTURY GLOBAL SKILLS Content Area: Orchestra Unit Title: Music Literacy / History Comprehension Target Course/Grade Level: 3 & 4 Unit Overview
UNDERGRADUATE MUSIC THEORY PLACEMENT TEST INFORMATION
UNDERGRADUATE MUSIC THEORY PLACEMENT TEST INFORMATION The theory placement test is designed to determine whether you are ready to enroll in MUS 121 (Music Theory I) or whether you must first take MUS 120
* - Mastery Skill Categories of skills SCPS MUSIC ESSENTIAL SKILLS CHECKLIST. Grade level: Kindergarten. Listen, Analyze, & Evaluate/ Mu.A.
SCPS USIC ESSENTIAL SKILLS CHECKLIST evised June 16, 2008 Grade level: Kindergarten u.a.1 u.a.2 ead & Notate/ u.a.3 u.a.4 u.a.5 u.a.6 ovement/ *Steady beat Long/Short *Speak *High/Low *Same/Different *Loud/Quiet
Mu2108 Set Theory: A Gentle Introduction Dr. Clark Ross
Mu2108 Set Theory: A Gentle Introduction Dr. Clark Ross Consider (and play) the opening to Schoenberg s Three Piano Pieces, Op. 11, no. 1 (1909): If we wish to understand how it is organized, we could
Theory of Music Jonathan Dimond Béla Bartók (1881-1945) (version October 2009) Introduction
Theory of Music Jonathan Dimond Béla Bartók (1881-1945) (version October 2009) Introduction Bela Bartok (1881-1945) was a Hungarian composer and pianist who was also a pioneer in the study of the traditional
Chords and Voicings Made Simple By: Sungmin Shin January 2012
Chords and Voicings Made Simple By: Sungmin Shin January 2012 I. Intervals An interval is the space between two notes. intervals of a 2nd, 3rd, 6th, and 7th can be diminished, minor, major, or augmented
How to Practice Scales
How to Practice Scales Step #1). Make a 5-Day Practice Plan In order to cycle through as many areas of scale practice as possible (and not get bored) it is important to have a plan. Your plan should cover
Higher Music Concepts Performing: Grade 4 and above What you need to be able to recognise and describe when hearing a piece of music:
Higher Music Concepts Performing: Grade 4 and above What you need to be able to recognise and describe when hearing a piece of music: Melody/Harmony Rhythm/Tempo Texture/Structure/Form Timbre/Dynamics
The pianist has a few functions in a jazz combo. First, he comps for, and interacts with, other players as they solo.
Piano Chord Voicings for jazz combo The pianist has a few functions in a jazz combo. First, he comps for, and interacts with, other players as they solo. Secondly, he acts as a soloist himself. Therefore,
Standard 1: Skills and Techniques 1
1 Standard 1: Skills and Techniques 1 CB.1.1 Instrument Knowledge Skills CB.1.1.1 Instrument in good playing condition- including proper assembly, reed care, and cleaning. CB.1.2 Playing Posture Skills
Practice Test University of Massachusetts Graduate Diagnostic Examination in Music Theory
name: date: Practice Test University of Massachusetts Graduate Diagnostic Examination in Music Theory Make no marks on this page below this line area Rudiments [1 point each] 1 2 3 4 5 6 7 8 9 10 results
www.migu-music.com Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano
www.migu-music.com Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano Table of Contents 3 Explanation of the Contents 5 Introduction to the
EUROPEAN COMPUTER DRIVING LICENCE. Multimedia Audio Editing. Syllabus
EUROPEAN COMPUTER DRIVING LICENCE Multimedia Audio Editing Syllabus Purpose This document details the syllabus for ECDL Multimedia Module 1 Audio Editing. The syllabus describes, through learning outcomes,
Music Theory Unplugged By Dr. David Salisbury Functional Harmony Introduction
Functional Harmony Introduction One aspect of music theory is the ability to analyse what is taking place in the music in order to be able to more fully understand the music. This helps with performing
K-8. Fine Arts Curriculum Framework. Revised 2008
K-8 Fine Arts Curriculum Framework Revised 2008 K-8 Fine Arts Curriculum Framework Strand Music Content Standard 1. Skills and Techniques Students shall demonstrate and apply the essential skills and techniques
Arlington Public Schools Secondary Vocal/Choral Music Curriculum INTRODUCTION
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
SECTION IV SANTA FE PUBLIC SCHOOLS BAND CURRICULUM
SECTION IV SANTA FE PUBLIC SCHOOLS BAND CURRICULUM Table of Contents Program Statement and Adopted Resources...3 Program Statement...3 Adopted Resources...3 Band Levels...4 Instructional Expectations,
BASS LINES FROM CHORD SYMBOLS
BASS LINES Bass players in symphony orchestras often find they have long passages with nothing to play, so they draw pictures all over their instruments. In jazz, it's different - they tend to play all
Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals. Collection Editor: Terry B. Ewell
Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals Collection Editor: Terry B. Ewell Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals Collection Editor: Terry B.
CMP Unit Plan Claire Burns
CMP Unit Plan Claire Burns Grade Level: Fourth Grade Class: General Music School: Kleven Boston Elementary School, Cherokee county, GA The Ostinato: Basis for Musical Experience Conceptual Focus: The Ostinato.
Music. Victorian Certificate of Education Study Design. Victorian Curriculum and Assessment Authority 2010
Music Victorian Certificate of Education Study Design Victorian Curriculum and Assessment Authority 2010 VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY COVER ARTWORK WAS SELECTED FROM THE TOP ARTS EXHIBITION.
Bass Clef Sight-Reading Exercise Worksheet
Bass Clef Sight-Reading Exercise Worksheet Instructions: In this exercise you will work through five different levels of sight-reading ability. You may wish to print four copies of the music sheet for
Pizzicato. Music Notation. Intuitive Music Composition. A Full Range of Music Software for the Musician. and
Pizzicato TM Music Notation and Intuitive Music Composition Pizzicato Light Pizzicato Beginner Pizzicato Notation Pizzicato Guitar Pizzicato Choir Pizzicato Soloist Pizzicato Drums & Percussion Pizzicato
Music 42701 (JUN154270101) General Certificate of Secondary Education June 2015. Listening to and Appraising Music. Time allowed 1 hour
Centre Number Surname Candidate Number For Examiner s Use Other Names Candidate Signature Examiner s Initials Question Mark A General Certificate of Secondary Education June 2015 Music 42701 Unit 1 Listening
Time allowed: 1 hour 30 minutes
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
Student Learning Guide to Pierre La Plante s American Riversongs. This guide belongs
Student Learning Guide to Pierre La Plante s American Riversongs This guide belongs to 2 CONTENTS Learning Goals 3 Assignments 3 Historical Notes 4 Practice Guide 7 Creative Project 10 Optional Band Project
Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI
Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI Do you remember the first time you heard this jazz classic, A Night In Tunisia?
Guitar Scales. The good news here is: you play the guitar!
Regardless what instrument you play, learning to play scales is a rite of passage. This is the foundation to becoming a learned musician, rather than merely a recreational player. The good news here is:
Teaching Composition With Technology
ASME 2011 Teaching Composition With Technology Katie Wardrobe Midnight Music Recording and Sequencing... 3 Software options...3 Arranging techniques and other musical concepts... 3 Using pre- made loops...3
National Quali cations SPECIMEN ONLY. Forename(s) Surname Number of seat. Date of birth Day Month Year Scottish candidate number
N5 FOR OFFICIAL USE National Quali cations SPECIMEN ONLY Mark SQ32/N5/0 Music Date Not applicable Duration 45 minutes *SQ32N50* Fill in these boxes and read what is printed below. Full name of centre Town
Crash Course in Music Theory for Guitarists by Andy Drudy
Crash Course in Music Theory for Guitarists by Andy rudy An in-depth knowledge of music theory is essential for any musician. Learning the ropes so-to-speak, will rapidly expand your insight into you own
Score following in practice
Score following in practice Miller Puckette and Cort Lippe IRCAM, 31, rue St-Merri, 75004 Paris, FRANCE msp@ircam.fr, lippe@ircam.fr ABSTRACT Score following was first presented at the 1984 ICMC, independently,
Frederic Chopin s Selected Nocturnes - An Examination of the Composer s Interpretive Indications. by Lydia Kozubek, translated by Slawomir Dobrzanski
Frederic Chopin s Selected Nocturnes - An Examination of the Composer s Interpretive Indications. by Lydia Kozubek, translated by Slawomir Dobrzanski Lydia Kozubek Prof. Lidia Kozubek, concert pianist
Seven Kings High School Music Department. Scheme of Work. Year 9 - Spring Term 1. Indian Music.
Seven Kings High School Music Department. Scheme of Work. Year 9 - Spring Term 1. Indian Music. Content. Aurally recognise and appreciate characteristics of Indian Classical Music. Learning about Indian
Bi- Tonal Quartal Harmony in Theory and Practice 1 Bruce P. Mahin, Professor of Music Radford University
Bi- Tonal Quartal Harmony in Theory and Practice 1 Bruce P. Mahin, Professor of Music Radford University In a significant departure from previous theories of quartal harmony, Bi- tonal Quartal Harmony
2017 NAfME All-Northwest Jazz Audition Materials Saxophones and Brass
2017 NAfME All-Northwest Jazz Audition Materials Saxophones and Brass Track 1 Track 2 Track 3 Basic Audition The following three tracks are required of all wind applicants ALTO SAXOPHONE (pages 5-6) TENOR
The Written Notation of Medieval Music
The Written Notation of Medieval Music Nigel Horne Introduction When visiting a collection of old music such as those held at the British Museum in London, I am often struck by the beauty and painstaking
Contents. Getting Started What s New... 6 Quick Guide to Online Examination Registration... 6 Contact Us... 6
Contents Message from the President.................... 5 Getting Started What s New.................................. 6 Quick Guide to Online Examination Registration... 6 Contact Us...................................
126CSR44J TITLE 126 LEGISLATIVE RULE BOARD OF EDUCATION
126CSR44J TITLE 126 LEGISLATIVE RULE BOARD OF EDUCATION SERIES 44J 21 ST CENTURY MUSIC EDUCATION CONTENT STANDARDS AND OBJECTIVES FOR WEST VIRGINIA SCHOOLS (2520.10) 126-44J-1. General. 1.1. Scope. --
How they invented chord patterns for the guitar. J. Chaurette. Dec., 2012
How they invented chord patterns for the guitar J. Chaurette Dec., 2012 The guitar has a very long history; it has evolved over the ages to what it is now. It has achieved its final distinct form in 1770,
MU 3323 JAZZ HARMONY III. Chord Scales
JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will
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.
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
Luis Villegas BME 530 DYNAMICS. Introduction:
Unit Title: Music Lesson Title: Finding the Dynamics Key Theme: Dynamics markings (piano and forte) Content: Loudness in Music Culture: All Topic: Dynamics Language: English Grant: Best Grade: 4 th Grade
GCSE Music. DR SMITH Definitions. Elements of Music. Listening and Appraising Support
GCSE Music DR SMITH Definitions Elements of Music & Listening and Appraising Support D R S M I T H DR SMITH Definitions Dynamics Volume in music e.g. Loud (Forte) & Quiet (Piano). Duration The length of