ASVAB Core Review, 3Rd Edition

Total Page:16

File Type:pdf, Size:1020Kb

ASVAB Core Review, 3Rd Edition 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page i ASVAB CORE REVIEW Third Edition ® NEW YORK 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page ii Copyright © 2009 LearningExpress, LLC. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by LearningExpress, LLC, New York. Library of Congress Cataloging-in-Publication Data ASVAB Core review.—3rd ed. p.cm. 978-1-57685-666-6 (pbk. : alk. paper) 1. Armed Services Vocational Aptitude Battery—Study guides. I. LearningExpress (Organization) U408.5.A84 2008 355.0076—dc22 2008034684 Printed in the United States of America 987654321 Third Edition Regarding the Information in this Book We attempt to verify the information presented in our books prior to publication. It is always a good idea, how- ever, to double-check such important information as minimum requirements, application and testing proce- dures, and deadlines with your local recruitment agency, as such information can change from time to time. For information on LearningExpress, other LearningExpress products, or bulk sales, please write to us at: LearningExpress 2 Rector Street 26th Floor New York, NY 10006 Or visit us at: www.learnatest.com 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page iii Contents CHAPTER 1 What Is the ASVAB Core? 1 CHAPTER 2 Getting Into the Military 7 CHAPTER 3 The Score You Need to Enlist 15 CHAPTER 4 The LearningExpress Test Preparation System 21 CHAPTER 5 Practice ASVAB Core Test 1 37 CHAPTER 6 Math Review 61 CHAPTER 7 Math Practice 101 CHAPTER 8 Word Knowledge Review 111 CHAPTER 9 Word Knowledge Practice 121 CHAPTER 10 Paragraph Comprehension Review 129 CHAPTER 11 Reading Practice 139 CHAPTER 12 Practice ASVAB Core Test 2 151 CHAPTER 13 Practice ASVAB Core Test 3 173 iii 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page iv 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page 1 CHAPTER What Is the 1 ASVAB Core? CHAPTER SUMMARY In order to enlist in the military, you have to take the Armed Services Vocational Aptitude Battery (ASVAB). But you have to pass only four of the nine subtests on the paper-and-pencil ASVAB to qualify for enlist- ment. This chapter explains those four subtests and shows you how to use this book to score your best. he paper-and-pencil ASVAB is a multiple-aptitude test battery consisting of nine subtests. Five of these subtests—General Science, Auto and Shop Information, Mechanical Comprehension, Assembling TObjects, and Electronics Information—are designed to determine what your aptitudes are for different jobs. However, only four of the ASVAB subtests—Arithmetic Reasoning, Word Knowledge, Paragraph Compre- hension, and Mathematics Knowledge—count toward your Armed Forces Qualifying Test (AFQT) score, which determines whether or not you can enlist in the military. This book will cover only the four subtests that count toward your AFQT, referred to in this book as the ASVAB core. 1 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page 2 –WHAT IS THE ASVAB CORE?– NUMBER OF ITEMS AND TESTING TIME FOR THE ASVAB SUBTEST NUMBER OF QUESTIONS TIME (MINUTES) General Science (GS) 25 11 Arithmetic Reasoning (AR) 30 36 Word Knowledge (WK) 35 11 Paragraph Comprehension (PC) 15 13 Mathematics Knowledge (MK) 25 24 Electronics Information (El) 20 9 Auto and Shop Information (AS) 25 11 Mechanical Comprehension (MC) 25 19 Assembling Objects (AO) 25 15 Total 225 items 149 minutes Note: Bolded items count toward the Armed Forces Qualifying Test (AFQT) score. The Four ASVAB Core Subtests Part 2: Word Knowledge The Word Knowledge subtest consists of 35 questions Following is a more detailed description of each of the that ask you to choose the correct definitions of verbs, four subtests that counts towards the AFQT score. nouns, adjectives, and adverbs. These questions come in two forms: Part 1: Arithmetic Reasoning The Arithmetic Reasoning subtest consists of 30 word ■ definitions presented alone, with no context problems describing everyday life situations, which are ■ words in the context of a short sentence designed to measure your reasoning skills and under- standing of: The vocabulary skills you need for the Word Knowledge subtest are presented in Chapter 8. Chap- ■ operations with whole numbers ter 9 gives you more practice using these skills. ■ operations with fractions and decimals or money ■ ratio and proportion Part 3: Paragraph ■ interest and percentage Comprehension ■ measurement of perimeters, areas, volumes, and The Paragraph Comprehension subtest is 15 questions time and temperature based on several short passages written on a variety of topics. No prior knowledge of the subject will be Chapter 6 will review math and Chapter 7 gives required—all the information you will need to answer you extra practice in math. the questions will be found in the passage. The ques- tions test two different skills: 2 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page 3 –WHAT IS THE ASVAB CORE?– ■ Literal comprehension: your ability to identify About the CAT-ASVAB stated facts, identify reworded facts, and deter- (Computer-adaptive Version) mine the sequence of events ■ Implicit, inferential, or critical comprehension: About 70% of military applicants take the computer your ability to draw conclusions; identify the version of the ASVAB, called the CAT-ASVAB. The main idea of a paragraph; determine the author’s CAT-ASVAB is a computer-adaptive test, which means purpose, mood, or tone; and identify style and that the test adapts to your ability level. The computer technique will give you the first question, and, if you answer cor- rectly, it gives you another question on the same Chapter 10 gives you the skills you need to do well subject—but this one is a bit harder than the first. The on this subtest. Chapter 11 gives you more instruction questions get harder as you progress, and, after you on how to read well, and also gives you more practice answer a certain number correctly, the computer skips reading questions. to the next subtest. So, you could get eight questions right, for example, and then the computer might go to Part 4: Mathematics Knowledge the next subtest instead of requiring you to answer all The Mathematics Knowledge subtest consists of 25 16 questions in the previous subtest. It also differs from questions designed to measure your understanding of the paper-and-pencil version in the following ways: mathematical concepts, principles, and procedures. The emphasis is on your ability to recognize and apply ■ It consists of ten subtests, but the same four sub- basic mathematical principles. The questions cover: tests (Arithmetic Reasoning, Word Knowledge, Paragraph Comprehension, and Mathematics ■ Number theory: factors, multiples, reciprocals, Knowledge) count toward your AFQT score. number properties, primes, integers ■ Auto Information and Shop Information subtests ■ Numeration: fractional parts, decimals, percent- are administered separately, but the results are ages, and conversions; order of operations; expo- combined into one score (labeled AS). ■ ᎏ1ᎏ nents; rounding; reducing fractions; roots and The test takes about 12 hours to complete. radicals; signed numbers ■ Each subtest must be completed within a certain ■ Algebraic operations and equations: solving or timeframe, but most individuals complete the determining equations, factoring, simplifying subtest before the time limit. algebraic expressions, converting a sentence to an ■ Once you have completed a subtest, you do not equation have to wait for everyone else to finish; you can ■ Geometry and measurement: coordinates and move on to the next subtest. slope, Pythagorean theorem, angle measurement, ■ As you complete each subtest, the computer dis- properties of polygons and circles, perimeter, plays the number of items and amount of time area, volume, unit conversion remaining for that subtest in the lower right-hand ■ Probability: determining the likelihood of an corner. event occurring or not ■ Once an answer has been submitted, you cannot review it or change it. These mathematical concepts are covered in ■ Test scores are available as soon as the test session Chapter 6 of this book, and Chapter 7 presents more is complete. problems for extra practice. 3 6526_ASVABCore_3e(FIN).qx 11/14/08 4:50 PM Page 4 –WHAT IS THE ASVAB CORE?– ■ If you choose to take the CAT-ASVAB, you will be ■ The number of subtests, number of questions, trained on answering test questions, using the and time limits of the CAT-ASVAB differ from computer keyboard and mouse, and getting help. those of the paper-and-pencil version, as follows: NUMBER OF ITEMS AND TESTING TIME FOR THE CAT-ASVAB SUBTEST NUMBER OF QUESTIONS TIME (MINUTES) General Science (GS) 16 8 Arithmetic Reasoning (AR) 16 39 Word Knowledge (WK) 16 8 Paragraph Comprehension (PC) 11 22 Mathematics Knowledge (MK) 16 18 Electronics Information (EI) 16 8 Auto Information (AI) 11 6 Shop Information (SI) 11 5 Mechanical Comprehension (MC) 16 20 Assembling Objects (AO) 16 12 Total 145 items 146 minutes Note: Bolded items count toward the Armed Forces Qualifying Test (AFQT) score. Arranging to Take the ASVAB What the ASVAB Means for You If you are in high school, ask your guidance counselor about taking the ASVAB. Many high schools offer the If you want to enter the military, everything is riding on ASVAB at a specific time during the school year. your ASVAB score. Your scores on the four subtests of If you are on your own, go to the nearest the ASVAB covered in this book—the AFQT—deter- recruiter of the branch of the armed services you’re mine whether you can get in at all. Once you are in, interested in. There is no charge to take the ASVAB. scores on the other subtests determine for which jobs, Taking the exam does not obligate you to join the or Military Occupational Specialties, you will be military, although you can probably expect to receive allowed to train.
Recommended publications
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Some Thought on Working with an Accompianist
    The Scoville Series: Part I 6RPHWKRXJKWVRQZRUNLQJZLWKDQDFFRPSDQLVW %\-RQ6FRYLOOH Choreographing the teacher/accompanist minuet: ZRUNHGZLWKDWHDFKHUZKRXVHGPL[HGPHWHUVLQPDQ\ SKUDVHVLQHYHU\FODVV,WEHFDPHDFRXQWLQJPDUDWKRQ $QDFFRPSDQLVW¶VSULPDU\UROHLVWRDVVLVWDQGVXSSRUW UDWKHU WKDQ DQ RSSRUWXQLW\ WR GDQFH 8QGHU WKHVH WKH WHDFKHU LQ PDNLQJ WKH FODVV JR ,I WKHUH DUH JRRG circumstances counting along can help the students lines of communication, both verbal and visual, from ¿QGWKHGRZQEHDWDQGZLOOKHOSDQDFFRPSDQLVWZKR HDFKVLGHWKHZRUNLQJUHODWLRQVKLSZLOOEHSRVLWLYH PD\QRWKDYHKDGDORWRIH[SHULHQFH SOD\LQJWKRVHWLPHVLJQDWXUHV2QFH 7KHDFFRPSDQLVWLVKHOSHGJUHDWO\E\WKHIROORZLQJ the class and the accompanist all 7KH RSSRUWXQLW\ WR VHH HQRXJK RI WKH PRYHPHQW seem secure with the meters, the during the demonstration to make decisions about teacher can stop counting along and LQVWUXPHQWDWLRQ DQG VRXQG TXDOLWLHV 7KLV VHHPV OHWWKHPXVLFVXSSRUWWKHGDQFH obvious, but occasionally the accompanist’s view will be blocked by students or the accompanist may be new :KLOHWKLVLVDSHGDJRJLFDOLVVXHLWGRHVDIIHFWWKH in that particular class and will not have had a chance DFFRPSDQLVW¶V DWWLWXGH WRZDUGV WKH FODVV 7KHUH DUH to see a movement phrase with which the dancers are teachers who will teach not only an entire class, but DOUHDG\IDPLOLDU occasionally a whole semester working in one meter DQGRIWHQLQRQHWHPSR:KLOHZHDOOKDYHRXUSHUVRQDO $FOHDUFRXQWRIIGRHVQ¶WKDYHWREHORQJ±XVXDOO\ movement preferences for triple or duple meters, a ZLOOGR%XWPDNHVXUHWKHVXEGLYLVLRQVRIWKH FKDQJHRISDFHDQGIHHOZLOOKHOSH[SDQGWKHVWXGHQWV¶
    [Show full text]
  • Download File
    NAVIGATING MUSICAL PERIODICITIES: MODES OF PERCEPTION AND TYPES OF TEMPORAL KNOWLEDGE Galen Philip DeGraf Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Galen Philip DeGraf All rights reserved ABSTRACT Navigating Musical Periodicities: Modes of Perception and Types of Temporal Knowledge Galen Philip DeGraf This dissertation explores multi-modal, symbolic, and embodied strategies for navigating musical periodicity, or “meter.” In the first half, I argue that these resources and techniques are often marginalized or sidelined in music theory and psychology on the basis of definition or context, regardless of usefulness. In the second half, I explore how expanded notions of metric experience can enrich musical analysis. I then relate them to existing approaches in music pedagogy. Music theory and music psychology commonly assume experience to be perceptual, music to be a sound object, and perception of music to mean listening. In addition, observable actions of a metaphorical “body” (and, similarly, performers’ perspectives) are often subordinate to internal processes of a metaphorical “mind” (and listeners’ experiences). These general preferences, priorities, and contextual norms have culminated in a model of “attentional entrainment” for meter perception, emerging through work by Mari Riess Jones, Robert Gjerdingen, and Justin London, and drawing upon laboratory experiments in which listeners interact with a novel sound stimulus. I hold that this starting point reflects a desire to focus upon essential and universal aspects of experience, at the expense of other useful resources and strategies (e.g. extensive practice with a particular piece, abstract ideas of what will occur, symbolic cues) Opening discussion of musical periodicity without these restrictions acknowledges experiences beyond attending, beyond listening, and perhaps beyond perceiving.
    [Show full text]
  • Gender Role Construction in the Beatles' Lyrics
    “SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles..................................................................................................
    [Show full text]
  • "Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “CHANT AND BE HAPPY”: MUSIC, BEAUTY, AND CELEBRATION IN A UTAH HARE KRISHNA COMMUNITY By SARA BLACK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music The members of the Committee approve the Thesis of Sara Black defended on October 31, 2008. __________________________ Benjamin Koen Professor Directing Thesis __________________________ Frank Gunderson Committee Member __________________________ Michael Uzendoski Committee Member Approved: ___________________________________________________________ Douglass Seaton, Chair, Musicology ___________________________________________________________ Seth Beckman, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Figures iv List of Photographs v Abstract vi INTRODUCTION: ENCOUNTERING KRISHNA 1 1. FAITH, AESTHETICS, AND CULTURE OF KRISHNA CONSCIOUSNESS 15 2. EXPERIENCE AND MEANING 33 3. OF KRISHNAS AND CHRISTIANS: SHARING CHANT 67 APPENDIX A: IRB APPROVAL 92 BIBLIOGRAPHY 93 BIOGRAPHICAL SKETCH 99 iii LIST OF FIGURES Figure 1. Cymbal rhythm 41 Figure 2. “Mekala” beat and “Prabhupada” beat 42 Figure 3. Melodies for Maha Mantra 43-44 Figure 4. “Jaya Radha Madhava” 45 Figure 5. “Nama Om Vishnu Padaya” 47 Figure 6. “Jaya Radha Madhava” opening line 53 Figure 7. “Jaya Radha Madhava” with rhythmic pattern 53 Figure 8. “Jaya Radha Madhava” opening section 54 Figure 9.
    [Show full text]
  • Off-Beats and Cross Streets: a Collection of Writing About Music, Relationships, and New York City
    University of Southern Maine USM Digital Commons Stonecoast MFA Student Scholarship 2020 Off-Beats and Cross Streets: A Collection of Writing about Music, Relationships, and New York City Tyler Scott Margid University of Southern Maine, [email protected] Follow this and additional works at: https://digitalcommons.usm.maine.edu/stonecoast Recommended Citation Margid, Tyler Scott, "Off-Beats and Cross Streets: A Collection of Writing about Music, Relationships, and New York City" (2020). Stonecoast MFA. 135. https://digitalcommons.usm.maine.edu/stonecoast/135 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at USM Digital Commons. It has been accepted for inclusion in Stonecoast MFA by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. Off-Beats and Cross-Streets: A Collection of Writing about Music, Relationships, and New York City A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUTREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS, UNIVERSITY OF SOUTHERN MAINE, STONECOAST MFA IN CREATIVE WRITINC BY Tyler Scott Margid 20t9 THE UNIVERSITY OF SOUTHERN MAINE STONECOAST MFA IN CREATIVE WRITING November 20,2019 We hereby recommend that the thesis of Tyler Margid entitled OffÙeats and Cross- Streets be accepted as partial fulfillment of the requirements for the Degree of Master of Fine Arts Advisor Florio -'1 4rl:ri'{" ¡ 'l¡ ¡-tÁ+ -- Reader Debra Marquart Director J Accepted ¿/k Dean, College of Arts, Humanities, and Social Sciences Adam-Max Tuchinsky At¡stract Through a series of concert reviews, album reviews, and personal essays, this thesis tracks a musical memoir about the transition from a childhood growing up in a sheltered Connecticut suburb to young adulthood working in New York City, discovering relationships and music scenes that shape the narrator's senss of identity as well the larger culture he f,rnds himself in.
    [Show full text]
  • The Effects of Projected Films on Singers' Expressivity in Choral
    THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition.
    [Show full text]
  • The Following Is a Glossary of Terms, Some of Which You Won't Readily Find
    Communicating with the Band in Their Vocabulary The following is a glossary of terms, some of which you won’t readily find in music textbooks. These are practical, on-the-job, day-to-day terms you will want to know in the real world of performing and singing on stage. These will aid you greatly in communicating with the band in their language. A Capella – Singing alone or unaccompanied, literally in a chapel style, i.e., vocal music without instrumental accompaniment. This can be another good style in the singer’s palette of colors. Accelerando - Means to speed up the music at this point little by little. Ad Lib - Also means rubato and colla voce. This is music that is played out of tempo or out of time where the musicians follow the singer word for word. This also means that in rubato sections of your "Do-it-yourself' charts, you MUST write all the lyrics so that your musicians can follow your words. Otherwise, they haven't the slightest idea where you are at any given point in an ad-lib section. (All music is either in some tempo or it is not.) Agent - One who actually finds you work and books your act. Arrangement - A completely original musical interpretation of a song arranged for one or more pieces of a band. A & R Man - Stands for Artists and Repertoire. This is the person at a record company who listens to your original demos or cassettes for possible consideration of a record deal. Back Beat - Traditionally, beats two and four of a 4/4 repeating pattern.
    [Show full text]
  • User's Manual
    User Manual Listening Singing Teacher User’s Manual Copyright 2009 by AlgorithmsAndDataStructures, F. Rudin, Switzerland All rights reserved. No Part of this Software or documentation may be copied or transferred in whole or in part without the prior consent of the Publisher, www.AlgorithmsAndDataStructures.com. For details of the copyright see the license agreement at the end. Trademarks Macintosh and OS X are trademarks of Apple Computer Inc. IBM PC is trademark of International Business Machines Inc.Windows XP/Vista/7 is trademark of Microsoft Inc. Listening Singing Teacher, Listening Music Teacher, The Listening Ear Trainer, The Red Pitch Dot, The Counting Hints Line, The Half Step Change Hints Line, The Notation Hints Line, The Half-Step Brackets, The Precision Listening Method, The Singing Funnel Method and The Octave Anchor Pitches Method are trademarks of www.AlgorithmsAndDataStructures.com. All other company and product names are trademarks or registered trademarks of their respective owners. Listening Singing Teacher i Welcome Table of Contents Trademarks .................................................................................................................................... i Welcome to Listening Singing Teacher (LST) ......................................... 4 Installation Macintosh ............................................................................... 5 Installation Windows ................................................................................ 9 First Time Use ........................................................................................
    [Show full text]
  • Intermediate Music – Section Five: Appendices
    APPENDICES Section Five Appendices MUSIC 7-9 CURRICULUM GUIDE INTERIM EDITION 531 APPENDICES Appendix A Teaching and Learning Strategies MUSIC 7-9 CURRICULUM GUIDE INTERIM EDITION 532 APPENDICES Teaching and Learning Strategies (Includes adaptations and reproductions of pp. 69-75 from Intermediate Music Curriculum and Teaching Guide, 1993, Department of Education, Division of Program Development, Gov’t of Newfoundland and Labrador) Nine Ways To Introduce New Songs Teaching new songs in a variety of ways maintains interest and strengthens musical skills. Skills that can be incorporated include: • reading notation - both shorthand and staff • reading hand signs • writing in various keys • developing tonal memory • improvising • form analysis • interval singing • rhythmic dictation • recognition of scale forms 1. Hand Signs • If the song has an unusual skip in it, practice that skip in a warm-up hand sign exercise. • Gradually change the sequence of hand signs so that the final series of five or six is the first line of the melody of the song to be taught. • Write the syllables for each line on the blackboard as it is learned. Write in the rhythms above the notes. • Analyze the form as to where similarities and differences occur. • Sing up to tempo and memorize the song. • Sing with text. MUSIC 7-9 CURRICULUM GUIDE INTERIM EDITION 533 APPENDICES 2. Fill in the blanks (either shorthand or staff notation). Write parts of the song on the blackboard. Measures are left blank if a certain rhythm or interval is to be reviewed. It would be a good idea if blank measures contain similar (or even same) notation as ones which appear on the board.
    [Show full text]
  • Owner's Manual 5086301-A
    OWNER’S MANUAL Warranty We at DigiTech® are very proud of our products and back up each one we sell with the following warranty: 1. Please register online at digitech.com within ten days of purchase to validate this warranty. This warranty is valid only in the United States. 2. DigiTech warrants this product, when purchased new from an authorized U.S. DigiTech dealer and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service. This warranty is valid to the original purchaser only and is non-transferable. 3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return Authorization number may be obtained by contacting DigiTech. The company shall not be liable for any consequential damage as a result of the product’s use in any circuit or assembly. 4. Proof of purchase is considered to be the responsibility of the consumer. A copy of the original purchase receipt must be provided for any warranty service. 5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without incurring any obligation to install the same on products previously manufactured. 6. The consumer forfeits the benefits of this warranty if the product’s main assembly is opened and tampered with by anyone other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested by the manufacturer.
    [Show full text]
  • Teaching Rock to the Young Jazz Band
    TEACHING ROCK TO THE YOUNG JAZZ BAND The same steps should be followed as with teaching Swing. STEP 1 – LISTEN TO A QUALITY ROCK RECORDING. Listening is the most important element in rock. Have students tap their foot along with the music so they can really identify the steady beat. STEP 2 – ACHIEVING EVEN EIGHTH NOTES. This is the main stylistic difference between rock and swing. Play a simple Bb Concert Scale and have the students tongue very lightly on each eighth note. STEP 3 – UNDERSTANDING 16TH NOTE SUBDIVISION This is to ensure all notes will be placed perfectly in the 16th note subdivision. Go over counting structures so all students are comfortable. STEP 4 – TRY DIFFERENT RHYTHMS IN A VARIETY OF WAYS: Try the following rhythms, either sung or played on your instrument on a concert Bb. Start by having the drummer play a steady rock beat and sing the first rhythm written below. All students (including the bass and piano) should sing back with correct articulation – including the drummer. Do this as many times as it takes! STEP 5 – HAND OUT THE ROCK SHEET (ON NEXT PAGE) ROCK!! NAME DATE Rock and roll evolved in the 1950’s with an easy beat and amplified guitars. This is a genre that you are already familiar with because you have heard it on the radio and TV while you were growing up. The main thing to remember is that the eighth notes are STRAIGHT, unlike swing. See the following rock rhythms below to see how rhythms can be sub‐divided: 1 + 2 + 3 + 4 1 e + a 2 e + a 3 e + a 4 1 + a 2 e + 3 a 4 Articulations! Let’s ROCK!! Add accents to the following example of Mary Had a Little Lamb: (1 and 3 should get emphasis)….
    [Show full text]