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Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Fairy Tale Versions~
FAIRY TALES/FOLK TALES Fairy Tales are a type of folktale in which magic plays a great part. Compiled by Sheila Kirven GENERAL Anderson, Hans Christian Steadfast Tin Soldier Juv.A544ste Armstrong, Gerry The magic bagpipe Juv. 788.9 .A735m Browne, Anthony Into the Forest Juv. B882i (Story incorporates elements of familiar tales) Casserley, Anne Roseen Juv. 398.21 .C344r Chapman, Gaynor The Luck Child Juv. 398.21.C466l 1968 De Regniers, Beatrice Little Sister and the Month Brothers Juv. D431Li Schenk The House in the Wood and Other Old Fairy Stories Juv. 398.2.G864h Little Lit: Folklore and Fairy Tale Funnies Juv.398.21.F666 Hennessy, B. G. Once Upon a Time Map Book: Take a Tour Juv.H515o of Six Enchanted Lands (Peter Pan, Wizard of Oz, Alice in Wonderland, Jack and then Beanstalk, Aladdin, Snow White) Jacobs, Joseph The buried moon; a tale told by Joseph Jacobs. Juv. 398.21 .J17b Jacobs, Joseph Indian fairy tales Juv.398.2 .J17i 1969 MacDonald, George, The golden key Juv. M135g Matsutani, Miyoko, The crane maiden. Juv. 98.21 .M434c My Storytime Collection of First Favorite tales Juv. 398.2.M995 2002 O’Malley, Kevin Once upon a cool motorcycle dude Juv. O543o (Two classmates try to tell a fairy tale to their class with some imaginative twists to some well-known fairy tale elements!) Oxenbury, Helen. Helen Oxenbury nursery story book. Juv. 398.21 .O98h San Jose, Christine Little Match Girl Juv. 398.21.A544j San Souci, Robert D. White Cat Juv.398.21.SS229w 1990 Singer, Marilyn Follow Follow: A book of Reverso poems Juv.811.54.S617f (Poems -
Commonlit | the Pied Piper of Hamelin
Name: Class: The Pied Piper of Hamelin By Robert Browning 1888 Robert Browning (1812-1889) was an English poet and playwright known for his dramatic verse. “The Pied Piper of Hamelin,” published in 1888, is a poetic retelling of the German legend from the Middle Ages in which a man is hired to lure rats away from a town with his magic pipe. As you read, take notes on the Piper's actions and motivations. [1] Hamelin town's in Brunswick, By famous Hanover city; The River Weser, deep and wide, Washes its wall on the southern side; [5] A pleasanter spot you never spied; But, when begins my ditty, Almost five hundred years ago, To see townsfolk suffer so From vermin, was a pity. [10] Rats! They fought the dogs, and killed the cats, And bit the babies in the cradles, And ate the cheeses out of the vats, And licked the soup from the cook's own ladles, [15] Split open the kegs of salted sprats,1 "Pied Piper with Children" by Kate Greenaway is in the public Made nests inside men's Sunday hats, domain. And even spoiled the women's chats, By drowning their speaking With shrieking and squeaking [20] In fifty different sharps and flats. 1. a small fish of the herring family 1 At last the people in a body To the Town Hall came flocking: "'Tis clear," cried they, "our Mayor's a noddy;2 And as for our Corporation—shocking [25] To think we buy gowns lined with ermine3 For dolts4 that can't or won't determine What's best to rid us of our vermin! You hope, because you're old and obese, To find in the furry civic robe ease? [30] Rouse up, sirs! Give your brains a racking To find the remedy we're lacking, Or, sure as fate, we'll send you packing!" At this the Mayor and Corporation Quaked with a mighty consternation.5 [35] An hour they sat in council, At length the Mayor broke silence: "For a guilder6 I'd my ermine gown sell, I wish I were a mile hence! It's easy to bid one rack one's brain — [40] I'm sure my poor head aches again I've scratched it so, and all in vain. -
Fairy Tales & Legends: the Novels
Koertge, Ron. Lies, Knives and Girls in Red Dresses (Little Red Riding Hood) Levine, Gail Carson. Fairest (Snow White isn’t the fairest of them all) These are tales that are written in full Lo, Malinda. novel form, with intricately developed Ash (Cinderella) plots and characters. Sometimes the Marillier, Juliet. version is altered, such as taking place in a Wildwood Dancing (The Frog Prince different location or being told through and Twelve Dancing Princesses, set in the eyes of a different character. Transylvania) Anderson, Jodi Lynn. Martin, Rafe. Tiger Lily (Peter Pan) Birdwing (A continuation of Six Swans) Barron, T.A. Masson, Sophie. The Lost Years of Merlin series Serafin (Puss in Boots, only the cat is an Great Tree of Avalon series angel in disguise) Bunce, Elizabeth. McKinley, Robin. A Curse as Dark as Gold (Rumplestiltskin) Beauty (Beauty & the Beast) Coombs, Kate. Spindle’s End (Sleeping Beauty) The Runaway Princess Meyer, Marissa. (A new twist on old tales) Lunar Chronicles (Dystopian fairy tales) Crossley-Holland, Kevin. Meyer, Walter Dean. Arthur trilogy Amiri & Odette (Swan Lake set in the Projects) Delsol, Wendy. Stork trilogy (Snow Queen) Napoli, Donna Jo. Dokey, Cameron. Beast (Beauty & the Beast, set in Persia, Golden (Rapunzel) told from Beast’s point of view) Beauty Sleep (Sleeping Beauty) Breath (Pied Piper) Donoghue, Emma. Crazy Jack (Jack and the Beanstalk; Kissing the Witch (13 tales loosely Jack’s looking for his dad) connected to each other) The Magic Circle (Hansel & Gretel; the witch’s story) Durst, Sarah Beth. Ice (East of the Sun, West of the Moon) Pearce, Jackson. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Live to Re-Tell the Tale
Live to Re-tell the Tale.... Select a favourite fairy tale that you would like to re-tell. Then, choose one character from the story who will present the tale from his/her point of view. Consider the following questions as you think about your Re-told Tale: Will the story be different because of the character you have chosen? For example, if that character is a Big Bad Wolf or an Evil Witch, how might you change the story to reflect that character’s take on the story? Will there be added scenes in your tale based on the character you have chosen? For example, if you chose to tell the tale of Cinderella from the Fairy Godmother’s perspective, what might be different about your story (ie., before, during and after the ball?) How will the dialogue in the story be different as it comes from your character? Do you want to make your main character a more modernized, or nicer, or meaner version than in the original tale? What other information do you want to share about your character that might not have been part of the original story? You do not have to rewrite the entire tale, but can write a synopsis of it. (A synopsis is like a summary, that lets the reader or listener know what the whole story is about). Your synopsis can be in point form, in mini paragraphs, or in whatever form you like. You will present your story ORALLY to the group, so you can also think about how your presentation will be different than an entire written story. -
The Pied Piper of Hamelin Role-Play Level 4
The Pied Piper of Hamelin Role-play Level 4 Cast Non-speaking roles (2 or 3 children for each role) ? Narrator 1 Pied Piper Children Rats ? Narrator 2 Mayor People of Hamelin Work with the children to allocate characters and prepare a short performance. Discuss the stage directions in advance and make sure the children understand how to follow the script. Narrator 1: One day, a strange man went to see the mayor. He was wearing red and yellow clothes and he carried a pipe in his hand. Pied Piper: I am the Pied Piper and I can make the rats leave Hamelin. Mayor: If you can make these rats leave Hamelin, I will give you lots of money. Pied Piper: I will remember that. Narrator 2: Then, the strange man went into the streets of Hamelin. He began to play some strange music on his pipe. (The Piper plays. The rats stop and listen.) Narrator 1: The rats heard the music and they stopped to listen. Suddenly, one rat followed the Pied Piper. Then, another rat followed him. And another. Soon, all the rats were following the Pied Piper. (The rats follow the Piper to the river.) Copyright © LadybirdCopyright Books Ltd, 2018 page 1 The Pied Piper of Hamelin Role-play Level 4 Narrator 2: The Pied Piper walked toward the river. He was still playing the strange music on his pipe. The rats followed him and they all jumped into the river. And that was the end of the rats in Hamelin. (The Pied Piper returns to the mayor.) Narrator 1: The Pied Piper went back to see the mayor. -
November 2.0 EN.Pages
Over 1000 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Sibelius & LilyPond DocumentationAn Introduction © Robert Piéchaud 2015 v. 2.0.1 published by www.klemm-music.de — November 2.0 Documentation — Summary Foreword .........................................................................................................................3 November 2.0 Character Map .........................................................................................4 Clefs ............................................................................................................................5 Noteheads & Individual Notes ...................................................................................13 Noteflags ...................................................................................................................42 Rests ..........................................................................................................................47 Accidentals (Standard) ...............................................................................................51 Microtonal & Non-Standard Accidentals ....................................................................56 Articulations ..............................................................................................................72 Instrument Techniques ...............................................................................................83 Fermatas & Breath Marks .........................................................................................121 -
Key Signatures Meters Tempo Clefs and Transpositions Position Work
The composition criteria for MSHSAA sight reading selections were revised in 2013-14. As a result, the committee determined that it would be beneficial to music directors throughout the state to have this criterion available to assist in preparations for sight reading. With this information in hand, directors will have a better understanding of the difficulty of the selection that will be used and will know what to expect in regard to rhythms, ranges, time signatures, etc. Key Signatures Key Signatures will be limited to the following: C, G, D, F, Bb major and relative natural minors. There should be at least one key signature change per piece. Meters Meters will be limited to the following: 2/4, 3/4, 4/4, Cut Time, 6/8 Tempo Tempi will be no slower than 72 beats per minute and no faster than 120 beats per minute. For continuous pieces, there will be at least one tempo change, but no more than two. Clefs and Transpositions Viola can have limited use of treble clef. Cello can have limited use of tenor clef. Position Work for Strings 3rd position and minimal use of 5th position may be used in the violin 1 part only. Minimal 3rd position work may be used in the violin 2 and viola parts. Half, 2nd, 3rd and 4th position work may be used in the cello part. Half position to the fourth position work may be used in the bass part. Divisi Limited use of divisi parts may be written. Repeats 1st and 2nd endings may be used. -
6Th Grade Clarinet
Band Virtual Learning 6th Grade Clarinet April 27th, 2020 6th Grade Clarinet Lesson: April 27th, 2020 Objective/Learning Target: Students will learn some common articulation definitions and some exercises for implementation. Let’s Get Started with a Quick Review: Let’s do our breathing exercises, and a few scales! Review : Breathing Exercises 1. Start with checking your posture while seated in a chair. If it is possible, position yourself in front of a full-length mirror. 2. Take a deep breathe and hold for 4 counts. 3. Next, sizzle out the air for 4 counts. 4. Repeat the same exercise but increase the amount of counts 8,12,etc. 5. It is important to sizzle your air for the same amount of counts that you held it for, one solid continuous sizzle. Click HERE for a video explanation! Review: Scales - Begin your warm up with some scales - How about we start with Concert A flat, Concert E flat and Concert F. - Play them in different rhythm patterns, use your creativity! Example: Be careful not to always play the same scales, learn all of them! It will help you out as you play different music. Articulation: Articulation in music refers to how specific notes or passages are played in terms of note length, attack intensity, etc. Composers and arrangers provide articulation directions in the form of written notation, symbols placed above or below notes. Here are some common articulation markings and their definitions. Articulation Markings: Staccato ([stakˈkaːto]; Italian for "detached") is a form of musical articulation. In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence. -
Dynamics, Articulations, Slurs, Tempo Markings
24 LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals Section 1.9 D YNAMICS , A RTICULATIONS , S LURS , T E M P O M ARKINGS Dynamics Dynamics are used to indicate relative loudness: ppp = pianississimo = very, very soft pp = pianissimo = very soft = piano = soft p mp = mezzo-piano = medium-soft mf = mezzo-forte = medium-loud f = forte = loud ff = fortissimo = very loud fff = fortississimo = very, very loud fp = forte followed suddenly by piano; also mfp, ffp, etc. sfz = sforzando = a forceful, sudden accent fz is forceful but not as sudden as sfz Articulations Articulations specify how notes should be performed, either in terms of duration or stress. Staccatissimo means extremely shortened duration. Staccato means shortened duration. Tenuto has two functions: it can mean full duration OR a slight stress or emphasis. Accent means stressed or emphasized (more than tenuto). Marcato means extremely stressed. An articulation of duration (staccatissimo, staccato, or tenuto) may combine with one of stress (tenuto, accent, or marcato). articulations of duration œÆ œ. œ- >œ œ^ & staccatto tenuto accent marcato staccattisimo articulations of stress Slurs Slurs are curved lines connecting different pitches. Slurs can mean: (1.) Bowings connect the notes as a phrase; (2.) for string instruments: play with one motion of the bow (up or down); (3.) for voice: sing with one syllable, or (4.) for wind instruments: don’t tongue between the notes. ? b2 œ œ œ œ ˙ b 4 Chapter 1: Music Notation 25 Fermatas Fermatas indicate that the music stops and holds the note until the conductor or soloist moves on.