DOCSLIB.ORG

Guide to Drum & Percussion Notation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to Drum & Percussion Notation Let Ring—It is normally assumed that a cymbal will be allowed to ring unless a choke or stopped effect is indicated. However, if a number of choke symbols have been used, a tie may be added to make it clear that the note should be allowed to ring through its natural decay. 3 Open Drums—Similarly, most notes on drums are assumed to be played “open” unless the stopped symbol has been used. The open symbol may, however, be used if it helps clarify the part. Placement of Notes—When drum part for a full kit part is placed on a 5-line staff, the parts played with the hands are notated with stems up, and those played by the feet with stems down. RLRRLRRL R R L R etc L 3 3 3 3 3 3 3 3 3 3 Guide To Drum & Percussion Notation www.audiograffiti.com.au [email protected] August 2004 Allegretto rit. 3 mp p f mp Rolls (8th-note)—A slash Rolls (16th-note)—Two Rolls (32nd-note)—Three Guide to Drum & Percussion Notation through a note means that the slashes through a note indicate slashes through a note indicate Notation for drums and percussion varies considerably from arranger to arranger, and from drum should be struck that the drum should be struck that the drum should be struck publisher to publisher. Many notators have created their own symbols in an effort to cater for the repeatedly at 8th note (quaver) repeatedly at 16th note (semi- repeatedly at 32nd note huge array of percussion instruments and techniques. intervals for the duration of the quaver) intervals for the intervals. note. This is usually as a duration of the note, creating a In most drum notation systems, the lines and spaces of a standard 5-line music staff are used to standard double stroke roll. roll. define the various drums of a kit. For simple parts (for example, a kick and snare pattern) a 1 or 2 line-line staff may be used. Non-kit percussion instruments can be notated on any of these staff types. Notators vary to some degree on what instrument each line of the stave represents. There is really no right or wrong as long as the notator provides a Open Crash (18") Splash (10") equals equals equals Hi Hat legend defining the Tom 1 Ride (22") Snare Tom 2 Tom 3 meaning of each line of Kick Ghost note Ride (20") Rim Shot the staff, and the HiHat (Pedal) significance pf the Rolls (triplet)—If a number (eg Rolls (on longer note values)— different noteheads 3 or 6) is placed above the The examples shown previously are all on a quarter not value. The and symbols. notehead, the roll should be slashes can be applied to any note value, and the roll should be The guide you are now reading is a “legend” to how we notate drum and percussion parts when player as if it were a triplet or played for the full duration of the note. For example, a half note we engrave music at Audio Graffiti. We attempt to follow the standards set out in Norman group of 6. (minim) with one slash requires four strokes. A dotted quarter note Weinberg’s Guide to Standardized Drumset Notation. Occasionally we will introduce a new symbol with one slash requires three strokes. to cater for an unusual requirement of a client. In such situations, we will provide a custom legend in the score or part extract. 3 equals equals equals 3 Flams—Flams are indicated by Drags—Drags are notated as a Ruffs—These can be notated a grace note. The grace note pair of grace notes attached to like a drag. However, if drags specifies which drum is to be the main note. The grace notes are also used in the same struck slightly ahead of the are played using a different score, ruffs are distinguished main note. stick to the main note. by the alternate sticking pattern or by a slashed beam. RL 2 7 Triangle—The triangle part can be noted on the 5-line staff by a Cowbell—The cowbell is Kick/Bass Drum—The kick Snare—The snare is notated as Toms (Standard kit)—Three triangle shaped notehead positioned on the first ledger line above notated on the top space of drum is notated on the bottom shown below. If a second snare toms are notated for the the staff. They can also be notated on a single-line staff with either the stave. Muted cowbells can space of the staff. If a second is called for, it will be notated standard kit: 2 mounted and a triangle shape or a normal notehead. Muted triangles are notated be notated with the “stopped” kick drum is required, it will be in a position used for one of one floor. with the “stopped” symbol, or, on a single-line stave they may be symbol. Cowbells can be notated on the lowest line of the toms and this will be notated with a cross-shaped notehead. notated on a single-line staff the staff. defined in the legend. like the triangle. Mounted Floor Hi Low Normal Muted Normal Muted Toms (Large Kit)—Where more Toms (Additional)—Up to 10 Hi-Hat Closed—The hi-hat is Congas & Bongos—Bongos Woodblock—these can be Gong—Gongs are notated on than three toms are required, toms can be notated by adding notated as a x-like cross mark and congas are normally notated as triangle shapes on the lowest line of the staff. they are notated in descending the four definitions shown on top of the staff. notated on a two lined staff, the upper section of the They can also be notated on a pitch. The appropriate size and below to the large kit with one line representing each percussion staff. The higher single-line staff. Specialist type for each will be given in definition. of the drums. An additional line line represents the highest techniques (such as scraping the legend otherwise these are may be added for a third drum. pitch. Woodblocks can also be of brushes) should be defined left to player discretion. The top line represents the notated on a one or two line in the legend. highest-pitched drum. A cross- staff with triangle or normal shaped notehead is used for note heads. muted drums. Specialist techniques should be defined in the legend. Hi-Hat (Second)—Some Hi-Hat (Open)—A small circle Hi-Hat (Half Open)—In some arrangements call for a second is placed above the hi-hat mark music, it is necessary to hi-hat. This is notated inside if it is to be struck while open. indicate a partially open hi-hat. the staff and lower than the This is done by placing a first hi- hat. vertical line though the “open 6 3 Hi-Hat (With Pedal)—A hi-hat Hi Hat (Foot Splash)—This Crash Cymbal—Crash cymbals Rim Shot—A line through a Cross Stick—These are played Drum Centre or Edge—Where played with the pedal is effect is created by clashing are notated with a cross mark notehead is used to notate a by laying the stick across the it is necessary to specify indicated by a cross mark the hi-hats together forcibly on the first ledger line above “rim shot” (striking the head drum head and over the rim. whether the drum be hit in the below the stave. using the pedal, then allowing the stave. and rim of the drum The part of the stick over the centre or on the edge, symbols them to ring. simultaneously). rim is raised and used to strike like those below are used. the rim. × × Crash Cymbal (Additional)— Splash Cymbal—The standard China Cymbal—The standard Ghost Notes—Ghost notes are Stopped Drums—These are Sticking—When a particular Where an arrangement calls for position for a splash cymbal is position for a china cymbal is played by striking the drum (or played by touching the drum or sticking pattern is required (or a number of different crash above the first ledger line on the second ledger line cymbal) very lightly. They are cymbal after it is struck to stop advised), it is noted by the cymbals, they may be drawn at above the stave. (Note that if a above the stave. (Note that if a used to create feel rather than it vibrating. letters ‘L’ (left) and ‘R’ (right) any point above the stave not splash cymbal isn’t required, china cymbal isn’t required, to be heard. above the stave. already defined in the legend this mark may be used for a this mark may be used for a for another cymbal type. different cymbal type) different cymbal type) R L R L Ride Cymbal—The standard Bell or Edge—Whether a Choked Cymbals—An position for a ride cymbal is on cymbal is hit on the edge or apostrophe is used to notate a the top line of the staff. If a bell is usually left to the cymbal that is grabbed second ride is required, it is discretion of the drummer. immediately after being struck. notated on the lower lines. However the following symbols can be used if necessary. Bell Edge 4 5 .
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
    TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below.
    [Show full text]
  • Theory of Music
    MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff .
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • 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]
  • Product Guide 2020
    Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques.
    [Show full text]
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
    [Show full text]
  • Level 1 Theory Book (1.65
    Table of Contents Lesson Page Material 1.1 1 Introduction to Music Letter Names The Octave 1.2 7 The Staff The Treble Clef Treble Clef Note Names Treble Clef Ledger Lines 1.3 17 The Bass Clef Bass Clef Note Names Bass Clef Ledger Lines Middle C 1.4 25 Dynamics Tempo Produced by The Salvation Army Music and Gospel Arts Department 3rd Edition Copyright 2018 The Salvation Army Canada and Bermuda Territory 2 Overlea Blvd., Toronto ON M4H 1P4 Original Author: Jeremy Smith Contributors: Leah Antle, Mark Barter, Susan Lee, Mike McCourt, Heather Osmond Lesson 1.1 - Introduction to Music We all hear lots of sounds at any given moment. Listen to the various sounds going on around you right now! How would you describe them? Do they have a pattern? Are they organized? Do you think this is music? Music is organized sound. We can use music to tell other people about Jesus Christ. This can be done through the use of singing, brass, percussion, piano and guitar music —any instrument that will promote God’s glory! Letter Names There are seven letters of the music alphabet: A B C D E F G We use these as note names to classify what a note or pitch sounds like. Notes can ascend (go higher): Notes can descend (go lower): 1 Level 1 Only seven letters? There can’t be just seven sounds in the whole world! The letter names of notes can be repeated when you run out! EXERCISE Fill in the missing note names! E A D B E D G B E D G F B 2 Level 1 The Octave When we have moved from one A to another A, we have played an octave, a term used in music to describe the space between notes of the same letter name.
    [Show full text]
  • Course Syllabus
    Course Name: Music Fundamentals Instructor Name: Course Number: MUS-102 Course Department: Music Course Term: Last Revised by Department: Spring 2021 Total Semester Hour(s) Credit: 3 Total Contact Hours per Semester: Lecture: 45 Lab: Clinical: Internship/Practicum: Catalog Description: This course is an introduction to music theory and the fundamental principles of traditional music, including melody, rhythm, harmony, basic skills and vocabulary. Emphasis is on music reading, application, notation, keytime signatures and aural training. This course is for majors and non-majors with limited background in music fundamentals or as preparation for music major theory courses. Previous background and instruction for music majors. No prerequisites for non-majors. Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: No standard required text. Purchase of materials for future reference as assigned by instructor Access Code: NA Materials Required: Instrument, Solos, books, study (etude) materials. Suggested Materials: Metronome and tuner. Courses Fees: None Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: 1. Students will analyze diverse perspective in arts and humanities. 2. Students will examine cultural similarities and differences relevant to arts and humanities.
    [Show full text]
  • Percussion Primer / Triangle by Neil Grover
    Percussion Primer / Triangle by Neil Grover SELECTION The triangle should be the highest, non-pitched member of the percussion family. Sizes range from 4” to 10”, however, the best size for concert playing is between 6” and 9”. A larger triangle provides a bigger internal working area for easier execution, however, it is heavier and more difficult to control. Triangles are made from steel, brass or bronze, each producing a different sonority. SUSPENSION A triangle needs to be suspended so that it vibrates unencumbered and freely, al- lowing maximum overtone resonance to be produced. It is very important that the instrument be suspended using a very thin, yet strong, mono-filament line. Fishing line works great and is also inexpensive. The use of string, cable, shoelaces, etc. will effec- tively dampen the resonance of any triangle. Using a second “catch line” will pre- vent the triangle from falling to the floor, should the primary line break. A light “triangle clip” will allow the triangle to be mounted on a music stand when not in use. STROKE The triangle should never be played when mounted on a music stand. It should al- ways be held at eye level and struck on the bottom leg with a motion that “pushes away” the bottom leg. This method will produce the maximum overtone sonority. A triangle sound full of overtones will blend with other instruments. Remember, a tri- angle is a non-pitched instrument and should have a very lush array of overtones, it should not sound like a bell! BEATERS Beaters are available in a large variety of sizes (diameters), materials and shapes.
    [Show full text]