DOCSLIB.ORG

101 Easy Practice Duets TUBA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
101 Easy Practice Duets TUBA SCHNIBBLES for Two by Brad Carman 101 Easy Practice Duets TUBA Two-Part Etudes for the Development of Skill, Awareness, and Confidence. Designed for Full-Band Settings, Small Group Instruction, Private Lessons, and Home Learning. SCHNIBBLES for Two 101 Easy Practice Duets for Tuba Brad Carman Dedicated to one of my earliest music teachers, Gerald Mattern, who's love for life and music was profound and infectious. He taught us that there is joy and beauty everywhere, and at an early age introduced me to the simple pleasure of reading duets with a good friend. Share the light on the other side, Big Jammer! 2 SCHNIBBLES for Two The word schnibble is a term that means "a little piece of something" - something little that can be tinkered or fiddled with or eventually built upon. I feel that the best way to describe this book is as a collection of schnibbles. This collection of duets sets out to expose young players to a broad range of musical situations and challenges but without pushing beyond what most first- and second-year players can manage, (with some practice and a little guidance). These duets are very short and focused, with limited range and rhythms that do not extend beyond eighth-note subdivision. Care has been taken to approach contrary motion and independent rhythms in a way that builds skill, awareness, and confidence. There ARE challenges, but most will be easily overcome. Designed for maximum accessibility, the collection introduces many intermediate concepts, (such as 3/8 and 5/4 time, syncopation and "jazzy" rhythms, whole-tone harmony, etc.), but in a way a beginner can digest them. Throughout, students are encouraged to begin thinking beyond the ink by experimenting with articulations, dynamics, and tempo to create their own musical interpretations. My hope is that students (and their teachers) will find this collection to be a practical tool that can be used to reinforce basic skills and musical concepts, but also an entertaining way for students to build confidence and expand their musical horizons. Feel free to play through the collection in order or skip around as desired to coordinate with a band method, learning sequence, or simply to explore. All books are compatible with one another for use in a full-band setting or so friends can pair up regardless of their instrument. Enjoy! -Brad Carman Brad Carman earned his degree in Music Education from the University of Wisconsin-Madison and has taught instrumental music at the college, high school, and middle levels, and maintains an active private studio. He has performed in wind ensembles, jazz ensembles, rock bands, music theater "pit" orchestras, and numerous chamber ensembles, and works frequently as a clinician, guest conductor, and as an education consultant, specializing in musical creativity in all genres and at all levels through composition, improvisation, and inspired musical interpretation. SCHNIBBLES for Two 3 A few suggestions for all players (and teachers): BEGINNERS (2nd semester of Band Class or equivalent): Start at the beginning of the collection and play everything with a very big sound, and a very steady, sturdy (slow) tempo. As you progress through the book, try to figure things out on your own, (look up fingerings or positions, clap and count rhythms, etc.), but don't hesitate to ask for help or for a demonstration from a teacher or more experienced musician when things seem confusing. Pairing tuba with trombone, bassoon, baritone, or euphonium is highly recommended to avoid muddy harmonies created by two tubas. EARLY INTERMEDIATE PLAYERS (Most 2nd and 3rd year players): Play everything more than once. FIRST, sight-read. Pick a modest tempo and stick to it. Do not stop for mistakes when sight reading. SECOND, identify and fix as many mistakes as you can and add stylistic elements to the music when there are none, (dynamics, articulations, etc.), and try things faster or slower. LATER INTERMDIATE/EARLY ADVANCED PLAYERS: The sky is the limit! Read things in cut-time, transpose, embellish with trills and other ornaments, play things up or down an octave, or flex your creative muscles and extend any one of these duets by composing additional measures in the same style. Review often, but always feel free to try different things each time. To ALL PLAYERS: PLAY BOTH PARTS! Being part of an ensemble means being able to play a melody confidently when you have it, but also being able to play a supportive role by playing in tune and in time, by playing with good blend and balance, by matching articulations and dynamics, and by bringing out your part when the music calls for it. The "bottom parts" are, in many ways, the more challenging of the two parts; a challenge that should not be avoided. HAVE FUN! It is possible to be serious and have a good time. Never be afraid to have a laugh. Beginners: Play with a BIG SOUND and a STEADY, STURDY TEMPO! Suggested tempo* q = 72 (+/-) Brad Carman °? 4 Œ Œ 4 ˙ ˙ ˙™ 1 ˙ œbœ ˙ œbœ b˙ ˙ ˙ ˙ b˙ ˙ ˙™ ? 4 Œ Œ ¢ 4 b˙ œ œ ˙ ˙ b˙ œ œ ˙™ ˙ b˙ ˙ b˙ ˙ b˙ ˙™ °? Œ Œ ˙ ˙ œ œ b˙ ˙ ˙ œ œ b˙™ b˙ ˙ ˙ ˙ bœ œ b˙™ ? Œ Œ ¢ ˙ œbœ ˙ ˙ ˙ œbœ ˙™ ˙ ˙ b˙ ˙ b˙ œ œ b˙™ *All tempo markings are merely a suggested starting point. Feel free to go faster or slower to meet your needs and fit your preferences, or simply to try things a different way. Any tempo is ok as long as you can stay together. Copyright © 2017 Brad Carman. All Rights Reserved. 4 SCHNIBBLES for Two - Tuba - Brad Carman Musical Uniformity = Sameness of Style As you play, listen to the sounds you are making together. Are the two parts balanced? In other words, are you both playing at about the same volume? Are all of the notes the same length, and played with the same kind of articulation? Sometimes it's difficult to tell, so ask a teacher or a more experienced player to listen to you, or even record yourselves and listen back to see how well you match each other. °? 4 Œ Œ Œ 4 ˙ œ œ œ œ œ 2 bœ ˙™ bœ ˙™ b˙ œ œ ˙ b˙ ˙ bœ ˙™ ? 4 Œ Œ Œ ¢ 4 ˙ œ œ b˙™ œ œ œ œ b˙™ ˙ bœ œ ˙ ˙ b˙ œ œ b˙™ Three-Quarter Time (3/4) Duets 3 and 4 are in Three-Four time. Be sure to count off in 3. For beginners, try it this way: "One, Two, Three, One, Two ----" (Breathe where "Three" would be.) °? 3 4 b˙™ 3 ˙ œ ˙™ ˙ œ ˙ œ ˙ œ ˙ œ ˙™ ? 3 ¢ 4 b˙ œ ˙™ b˙ œ ˙™ b˙ œ ˙ œ b˙ œ b˙™ ° 3 ? 4 4 ˙ œ ˙ œ ˙ bœ ˙™ ˙ bœ ˙ bœ œ œbœ ˙™ ? 3 ¢ 4 b˙ œ b˙ œ b˙ œ b˙™ b˙ œ b˙ œ bœ œ œ b˙™ Intermediate players (and their teachers): Remember to PLAY BOTH PARTS (or at least switch parts for each new duet). Also, challenge yourselves by adding articulations, dynamics, and other stylistic elements to make the music more interesting to play and to listen to. Doing this is called musical interpretation, and is an important factor to becoming a more skilled and imaginative musician. If you have a difficult time thinking of what to do, start with opposites: slurs/tongue, loud/soft. SCHNIBBLES for Two - Tuba - Brad Carman 5 3/4 time is sometimes called Waltz-Time. A Waltz is a kind of a dance, and probably something you're already familiar with. Search "waltz" on the internet and see what you get. Sometimes watching dancers can make certain rhythms and grooves make more sense; and more fun to play! ° 3 ? 4 5 ˙ œ bœ œ œ ˙™ ˙™ ˙ œ bœ œ œ ˙™ ˙™ ? 3 ¢ 4 ˙ œ œ œ œ b˙™ ˙™ ˙ œ œ œ œ b˙™ ˙™ °? ˙ œ bœ œ œ œ œ œ ˙™ bœ œ œ bœ œ œ ˙™ ˙™ ? ¢ ˙ œ œ œ œ bœ œ œ ˙™ œ bœ œ œ bœ œ b˙™ ˙™ Syncopation q h q The rhythm in measures 1, 3, 5, and 7 of Duet 5 (q h q) is an example of Syncopation. See if you can put a little extra weight on beat 2 in each of those measures. The musical term for adding weight or emphasis is accent and is marked with this symbol: > °? 4 4 b˙ b˙ bœ ˙ œ ˙ b˙ bœ 6 œ >˙ œ ˙ œ >˙ œ ˙ > œ >˙ w 41 ? 4 ¢ ˙ ˙ œ ˙ œ ˙ ˙ œ bœ >˙ œ b˙ bœ >˙ œ b˙ > bœ >˙ bw The Beat Goes On Be sure each half-note lasts two full beats then stops. In measures 1-2 and 4-6, the sound stops and the silence begins right on beat 3. It might be worth having each partner play their part while the other counts and claps. Remember: Even when the sound stops, the steady beat keeps going during the rests! ° 4 ? 4 Ó Ó Œ Œ Ó Ó Ó Œ Œ Œ Œ ˙ b˙ œ bœ ˙ ˙ b˙ œ bœ œ œ 7 1-2 (3-4) ? 4 Ó Ó Œ Œ Ó Ó Ó Œ Œ Œ Œ ¢ 4 b˙ ˙ bœ œ ˙ b˙ ˙ bœ œ bœ œ 6 SCHNIBBLES for Two - Tuba - Brad Carman 3/4 & 3/8 ; Counting Twins Be sure to count carefully through measures 7 and 8. Make the note in measure 7 end exactly on beat 1 of measure 8. Also, don't rush through the counting in measure 8. Keep a steady tempo and be patient. Silence is an important part of music. Don't skip over it! ° 3 ? 4 ∑ ˙ œ ˙™ ˙ bœ ˙™ œ œ bœ œ œ œ ˙™ 8 1 - 2 - 3 ? 3 ∑ ¢ 4 b˙ œ b˙™ ˙ œ b˙™ œ bœ œ bœ œ œ ˙™ °? ∑ ˙ œ ˙ œ b˙™ ˙ bœ ™ bœ œ bœ œ œ b˙™ ? ∑ ¢ ˙ bœ ˙™ b˙ œ ˙™ œ œ bœ œ bœ œ b˙™ Duet 9 is written in 3/8 time, which is just a different way of writing 3/4.
Load more

Recommended publications
  • Musical Explorers Is Made Available to a Nationwide Audience Through Carnegie Hall’S Weill Music Institute
    Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Amy Mereson, Assistant Director, Elementary School Programs Rigdzin Pema Collins, Coordinator, Elementary School Programs Tom Werring, Administrative Assistant, School Programs ADDITIONAL CONTRIBUTERS Michael Daves Qian Yi Alsarah Nahid Abunama-Elgadi Etienne Charles Teni Apelian Yeraz Markarian Anaïs Tekerian Reph Starr Patty Dukes Shanna Lesniak Savannah Music Festival PUBLISHING AND CREATIVE SERVICES Carol Ann Cheung, Senior Editor Eric Lubarsky, Senior Editor Raphael Davison, Senior Graphic Designer ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company. © Additional support has been provided by the Ella Fitzgerald Charitable Foundation, The Lanie & Ethel Foundation, and
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Music Appreciation, 6 Grade
    Pennington Traditional- Music Appreciation, 6th grade Teacher: Mrs. Stachour Updated: March 20, 2020 Prior Assignments, Month Objectives Covered Additional Available Resources Assessments, Resources 6.1 The student will read Teacher generated counting I Knew You Were Treble- song reviewing lines and notate music, including examples and spaces in treble clef 1. identifying melodic https://www.youtube.com/watch?v=U2TLtRu6Hqk&list=LLS- patterns; Rhythm counting Hlvqs0ihsX4F9mgHKX-g&index=12 2. recognizing diatonic manipulatives All About That Bass (Clef)- song reviewing lines intervals; and spaces in the bass clef 3. identifying notes written Students creating rhythms https://www.youtube.com/watch?v=EY-hJ9WZ6lk&list=LLS- on the bass staff; individually and in small Hlvqs0ihsX4F9mgHKX-g&index=11 4. notating melodies on the groups treble staff, with emphasis Counting review video- contains whole, half, on steps and skips; Teacher and student created quarter, and eighth notes and rests 5. reading and notating mnemonics for note names in https://www.youtube.com/watch?v=LVOjKCztqTs&list=LLS- September rhythmic patterns that treble and bass clef Hlvqs0ihsX4F9mgHKX-g&index=4&t=0s include whole notes, half notes, quarter notes, eighth Counting games such as notes, and corresponding “Poison Rhythm” to reinforce rests; and 6. identifying the written and aural identification meaning of the upper and of rhythms lower numbers of time signatures. 6.4 The student will perform rhythmic patterns that include whole notes, half notes, quarter notes, eighth notes, and corresponding rests. 6.1 and 6.4 continued Teacher and student generated 6.3 The student will play a examples variety of pitched and nonpitched instruments, Continued use of counting including manipulatives 1.
    [Show full text]
  • Level 1 UPDATED July 2020 Performance Theory Ear Training Sight Reading Technique
    Level 1 UPDATED July 2020 Performance Theory Ear Training Sight Reading Technique AIM Syllabus Level 1 - Page 1 2020 Copyright UMTA AIM Syllabus – May be copied by UMTA Members for their personal use only Level 1 PERFORMANCE Performance pieces must be original keyboard compositions and must be played FROM MEMORY. TWO pieces are required, ideally each from a different composer and contrasting in style, although no points will be deducted for playing pieces from the same book. Both pieces must be memorized in their entirety and be a minimum of 8 measures in length. The adjudicator will listen for a musical performance that includes dynamics and control of legato or staccato touch. Students must bring original music for the adjudicator. PLEASE HAVE MEASURES NUMBERED. Authorized photocopies are acceptable, if they are accompanied by a permission form signed by the publisher, an authorized copy with the student or parent’s name or a studio license authorization. Public domain copies downloaded from sites such as IMSPL.org, should have the name of the website written on the copy. Students without music or with unauthorized photocopies will be allowed to perform but will not receive a score. The following are NOT acceptable: Duets or ensemble numbers Simplified arrangements of orchestral or other piano pieces Movie Themes Popular/Commercial songs David Lanz, Yanni, Enya, George Winston, Billy Joel Student Compositions A transcription not currently accepted as a part of the standard repertoire The following are acceptable: New Age/Contemporary Composers Jon Schmidt, Jason Tonioli, Paul Cardall, Michael Hicks Music will be held to high performance standards and must be played as written on the music, not as performed by the composer.
    [Show full text]
  • The Choral Cycle
    THE CHORAL CYCLE: A CONDUCTOR‟S GUIDE TO FOUR REPRESENTATIVE WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY RUSSELL THORNGATE DISSERTATION ADVISORS: DR. LINDA POHLY AND DR. ANDREW CROW BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 Contents Permissions ……………………………………………………………………… v Introduction What Is a Choral Cycle? .............................................................................1 Statement of Purpose and Need for the Study ............................................4 Definition of Terms and Methodology .......................................................6 Chapter 1: Choral Cycles in Historical Context The Emergence of the Choral Cycle .......................................................... 8 Early Predecessors of the Choral Cycle ....................................................11 Romantic-Era Song Cycles ..................................................................... 15 Choral-like Genres: Vocal Chamber Music ..............................................17 Sacred Cyclical Choral Works of the Romantic Era ................................20 Secular Cyclical Choral Works of the Romantic Era .............................. 22 The Choral Cycle in the Twentieth Century ............................................ 25 Early Twentieth-Century American Cycles ............................................. 25 Twentieth-Century European Cycles ....................................................... 27 Later Twentieth-Century American
    [Show full text]
  • Music Glossary of Terms
    Glossary Nevada Academic Content Standards for Music Term Definition AB Musical form consisting of two sections, A and B, which contrasts with each other (binary form) ABA Musical form consisting of three sections, A, B, A; two are the same Analog Tools Category of musical instruments and tools that are non-digital (e.g., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers Analyze Examine in detail the structure and context of the music Arrangement Setting or adaptation of an existing musical composition Arranger Person who creates alternative settings or adaptations of existing music Articulation Characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones) Artistic literacy Knowledge and understanding required to participate authentically in the Arts Atonality Music in which no tonic or key center is apparent Audiate Hear and comprehend sounds in one’s head (inner hearing), even when no sound is present Audience etiquette Social behavior observed by those attending musical performances and which can vary depending upon the type of music performed Beat Underlying steady pulse present in most music Benchmark Pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of cored student work (aka, anchor set) Binary form See AB Body percussion
    [Show full text]
  • Universiv International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or "target” for pages apparently lacking from the document photographed is "Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Learn to Play VIOLIN Method Book Junior Musos: Preparatory Stage 2A Second Edition
    LEARN TO PLAY VIOLIN METHOD BOOK Junior Musos: Preparatory Stage 2A Second edition The Learn to Play Junior Musos edition is a Wendy’s Music Program introducing children to the basics of playing their instrument. This book is the second level in the series. This book is part Tof a unique Wendy’s Music program which includes: Learning to play: practical with correct techniques. Performing: achieving a level of playing and confidence to perform independently or with others for an audience. Theory: reading, writing, and understanding music notation fluently. Ear training: developing the ability to listen and understand musical content and performance issues. Creating: via improvisation and composing. All concepts are introduced in a simple manner with performance, theoretical, aural, and creative review, which enables each concept to be thoroughly understood. A variety of musical styles are incorporated in the music used in this series. By the end of the program, participants should feel equipped to proceed in any or all musical styles as they prefer. By now you should have discovered that a small amount of time spent, as many days of the week as you can manage, makes learning to play music easy. Time with concentration on improving allows skills to develop. Keep experimenting with creating your own music, using the “create” exercises and ideas, whilst also spending a little time developing your ears with the “listening” examples. Flashcards, sight-reading, written review and other exercises which make reading and making music easy are also important to spend a little time on regularly. Continue motivating yourself by ticking and crossing with your teacher the “play at home boxes” and see how much you have achieved already! In Stage 2 you will be introduced to more rhythms, notes and chords to play in a variety of techniques.
    [Show full text]
  • WSMTA Music Examinations Curriculum Guide
    3 WSMTA Music Examinations Curriculum Guide Level One FUNCTIONAL SKILLS Rhythm and pulse development: - Clap or tap a rhythm pattern, counting aloud, with a metronome tempo of 72 for the quarter beat - The student may use any counting method, giving one measure of preparation - The pattern will include quarter, half and whole notes Sight-playing: - Play a 4 to 8 measure piece or excerpt. The student is encouraged to count aloud. - Scoring will be based on note accuracy, rhythm accuracy and continuity - The sight-playing example will be in Middle C position, hands playing separately, with no accidentals. Rhythms will include quarter, half and whole notes Technique: Scales: - Prepare and play 5 scales, both hands, separate or together - Scales may be five finger, tetrachord, or one octave, major or minor, white or black key - Use the correct fingering and play with a steady pulse Chords: - Play a triad or chord shell in the keys of prepared scales Example: Applied Theory – Intervals: - Play steps and skips on white keys only, up and down - Play whole and half steps, up or down WRITTEN THEORY - Identify the number of beats for quarter notes and rests, half notes and whole notes - Identify and/or draw treble and bass clef symbols - Recognize and/or give definitions for forte and piano symbols - Identify note direction as up, down, or repeat WSMTA Musicianship Examinations Curriculum © 2006 Kansas Music Teachers Association. Used by permission. 4 - Identify steps and skips, moving up or down, on the staff or a pictured keyboard - Identify
    [Show full text]
  • MUSIC GUIDELINES Diocese of Sacramento Third Grade Artistic Perception 1
    St. Mel’s Catholic School MUSIC GUIDELINES Diocese of Sacramento Third Grade Artistic Perception 1. Students listen to and analyze music critically, using the vocabulary and language of music. Students identify simple forms and elements of music, when presented aurally. Dynamics 1.1 Understand the purpose of dynamics in music. Tone Color 1.2 Be able to hear timbre in instruments and voices. 1.3 Know the different ways musical sounds are made and be able to hear the difference between them. 1.4 Know by sight and sound members of the families of instrumental timbre. 1.5 Know the names and be able to hear the difference between bass, tenor, alto, and soprano voices. Pitch 1.6 Understand the treble clef. Harmony 1.7 Understand how sounds are combined or layered. 1.8 Be able to tell the difference between layered and non-layered music. 1.9 Be able to identify chords and triads. Form 1.10 Be able to recognize musical phrase form and repeated patterns. 1.11 Be able to identify repeated phrases. 2. Students demonstrate perceptual skills by moving to music, answering questions about music, and describing aural examples of music. Rhythm 2.1 Be able to clap to music played in 2’s and 3’s. Form 2.2 Be able to say/write letters to identify forms. 3. Students read and notate music. Students use a system to read simple rhythms, patterns, and pitch notations in the treble clef major. Dynamics 3.1 Know dynamic markings (f, mf, mp, p, pp). 3.2 Be able to react to dynamic markings by singing and playing and with movement.
    [Show full text]
  • Electronic Music 1 Unleveled, 901 2.5 Credits
    Electronic Music 1 Unleveled, 901 2.5 credits This course is an introduction to music and music technology. Students will how to read music, develop keyboard skills, and learn the basics of music theory and composition. Students will use the latest music technology including using Finale, Mixcraft , and Auralia software, as well as web-based skill development. No previous musical experience is required to take the class. Course Objectives: Concept List Students will be able to…… 1. Use correct posture and hand position at the keyboard. 2. Identify the fingers by number. 3. Notate music on the staff using bass and treble clefs, grand staff and rhythmic notation 4. Name, find, and play all black and white keys on the keyboard through written work and performance at the keyboard. 5. Tap two-part rhythm patterns. 6. Aurally distinguish simple rhythm patterns. 7. Identify 4/4 and 3/4 time signatures and apply them through written work and performance at the keyboard. 8. Play melodies in middle C position, C position, G position and other white key positions. 9. Perform solo repertoire from Grand Staff notation. 10. Apply additional musical concepts (crescendo, diminuendo, common time, slurs, legato phrase) to performance at the keyboard. 11. Identify steps and skips on the staff and perform them on the keyboard. 12. Identify melodic and harmonic intervals within the octave on the staff and perform them on the keyboard. 13. Identify and notate enharmonic equivalents. 14. Identify Italian tempo marks (allegro, moderato, andante) and apply them to performance on the keyboard 15. Apply additional musical concepts (incomplete measure, tied notes) through written work and performance at the keyboard.
    [Show full text]
  • Comprehensive Theory Guide
    Wisconsin Music Teachers Association Theory Study Guide – Comprehensive Minimum Theory Level (State Track) Grade Piano Vocal / Instrumental 1-3 Pre-Elementary (PE) Pre-Elementary (PE) 4 Elementary A (EA) Elementary A (EA) 5 Elementary B (EB) Elementary A (EA) 6 Elementary C (EC) Elementary A (EA) 7 Intermediate A (IA) Elementary B (EB) 8 Intermediate A (IA) Elementary B (EB) 9 Intermediate B (IB) Elementary C (EC) 10 Intermediate C (IC) Elementary C (EC) 11 Intermediate C (IC) Intermediate A (IA) 12 Advanced A (AA) Intermediate A (IA) Notes PE Write the musical alphabet up & down in steps, starting on any letter Treble test: Bass test: Alto test: EA Treble test: Bass test: Alto test: EB EC IA All notes on Treble & Bass clef (any ledger line above/below) IB IC AA AB AC All notes on Treble, Bass, Alto, and Tenor clef (any ledger line above/below) 2021 Revision Rhythm & Meter (cumulative) PE Time Signatures: 3/4, 4/4 Notes: quarter, half, dotted-half, whole EA Time Signatures: 2/4 Notes: 8th (pair) Rests: quarter, half EB Notes: 8th (single), dotted-quarter Rests: 8th, whole EC Time Signatures: 3/8, 6/8, 9/8 Rests: dotted-quarter IA Time Signatures: Common time Notes & Rests: 16th, dotted-8th - Identify meter as duple or triple IB Time Signatures: 2/2, Cut time Notes: 8th-note triplet IC Notes & Rests: 32nd, dotted-16th AA Time Signatures: 3/2, 12/8 - Identify meter as simple/compound & duple/triple/quadruple AB Time Signatures: 5/4, 5/8, 7/8 AC Notes: any tuplet - Identify meter as irregular Intervals PE - Identify steps and skips using
    [Show full text]