DOCSLIB.ORG

HIGHLANDS CHOIR SEMESTER EXAM REVIEW Types of Notes And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HIGHLANDS CHOIR SEMESTER EXAM REVIEW Types of Notes And HIGHLANDS CHOIR SEMESTER EXAM REVIEW Types of Notes and Rests Notes Whole Half Quarter Eighth Sixteenth Rests Whole Half Quarter Eighth Sixteenth Time Signature or Meter The top number tells us the number of beats per measure; in this case, it is 3. The bottom number tells us the type of note that equals one beat. In this case, it would be the quarter note. A “C” in the time signature indicates common time, another way to indicate 4-4 time signature. A “C” with a vertical slash through it would indicate cut time, or 2-2. The Staff and the Clefs The staff is composed of 5 lines and 4 spaces. The clef at the beginning of the staff indicates which pitch range is to be used (treble clef for higher voices, bass clef for lower voices). Women typically read treble clef, while tenors can read either treble or bass clef, and basses almost always read bass clef. Sometimes the treble clef for tenors will be shown with an 8 at the bottom to indicate that they are to sing everything they see down an octave (or else they would be singing in the women’s range). Treble clef Treble clef Bass clef (for tenors) Pitch In music, a note on the staff indicates how high or low a given pitch is. These are indicated by letters in the musical alphabet. The letters of musical alphabet go up from A to G; the pitch just above G would start over at A and continue on. The letters assigned to the lines and spaces depend on which clef the musician is using. The two most common clefs used by singers are treble and bass clef. The letter assignments do not change; for example, the bottom line of the treble clef will always be an E. Treble Clef Letters Lines: Every Good Boy Does Fine Spaces: F A C E – “Face is in the space” Bass Clef Letters Lines: Good Boys Do Fine Always Spaces: All Cows Eat Grass Solfege Solfege is the system by which singers sight-read a piece of music. It was originally developed during the Renaissance time period by a man named Guido d’Arezzo. It uses the followings syllables: Do Re Mi Fa Sol La Ti Do Singers use the system by assigning them to the staff based on the alternating of line and space. For instance, if “Do” is on the bottom line of the staff, the following would be true: Do Re Mi Fa Sol La Ti Do Line Space Line Space Line Space Line Space How the letters on the staff work with solfege Knowing the key of a song tells the singer where to place “Do.” For instance, if we were I the key of A, girls reading the treble clef would know that “Do” would be on the second space. In addition, this means that any A, regardless of whether or not it falls on a line or space, would be “Do.” If you change the key, all of the solfege shifts with it. See the examples below; pay attention to what happens to the A space when the key is changed. Key of A Key of G Example test question: Fill in the missing solfege in the examples played. Do Re Mi ____ Mi Re Do Mi ____ Sol La Sol Fa Sol CIRCLE OF FIFTHS Identify Major Key Signatures Shortcuts: o For flat keys: second to last flat names the key (except for F, which is one flat); OR the farthest flat to the right is “fa” o For sharp keys: farthest right key is “ti”, so go up one o The key of F is the only flat key that doesn’t have the flat with its name o The keys of F-sharp and C-sharp are the only sharp keys that have the sharp with their name You do not need to know relative minor keys on the inside of the circle. Please remember that flats and sharps must go with the key name in order to be correct if appropriate! For example, ‘E’ is a sharp key with 4 sharps, and the key of E-flat is a flat key with 3 flats. Interval Tunes Major 2nd (M2) Happy Birth-day Major 3rd (M3) Oh When the Saints Perfect 4th (P4) “Here comes the bride” Perfect 5th (P5) Beginning pitches of Star Wars theme or witch’s guard march in Wizard of Oz Major 6th (P6) N-B-C Major 7th (M7) “I waited til” from Norah Jones’ “Don’t Know Why” or simply that M7’s sound very dissonant Octave/P8 Some-where over the rainbow Music Vocabulary Dynamic Markings The term dynamics refers to the relative volume at which music is to be performed. From softest to loudest, the basic terms are as follows: Symbol Italian name Meaning Pianissimo Very soft pp Piano Soft p Mezzo Piano Medium soft P Mezzo forte Medium loud F Forte Loud f Fortissimo Very loud ff cresc. Crescendo gradually get louder or decresc. Decrescendo gradually get softer or dim. Diminuendo gradually get softer Tempo and Articulation Markings Italian Meaning rit. ritardando slow down rall. rallantando slow down accel. accelerando get faster a tempo (same) return to the original tempo staccato sing/play short and detached k legato sing/play smooth and connected _ accent sing/play the note more forcefully > sub. subito suddenly piu (same) more molto (same) much The metronome is an instrument that helps a musician determine an exact tempo. It is measured in beats per minute. If the tempo is 60, then the speed of the beat will be exactly the same as the second hand on any stopwatch or clock. Voice Parts & Vocal Technique Female Voice Parts, Highest to Lowest Male Voice Parts, Highest to Lowest Soprano I Tenor I Soprano II Tenor II Alto I Baritone Alto II Bass v Proper singing requires the singer to breathe from the diaphragm. v Singers should stand with their chest high, their feet approximately shoulder- width apart, and with their head up. One should never stand with locked knees. v The area in the front of the face in which sound should resonate is referred to as the masque. .
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • The Journal of the Viola Da Gamba Society Text Has Been Scanned With
    The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 19 (1990) (Editor: Lynn Hulse) Ian Payne The Provision of Teaching on Viols at some English Cathedral Churches, c. 1594 – c. 1645: Archival Evidence Chelys, vol. 19 (1990), pp. 3-15 Robert Thompson The Sources of Locke’s Consort ‘for seaverall friends’ Chelys, vol. 19 (1990), pp. 16-43 Carl Hugo Ågren The use of Higher Positions on the Treble Viol. Chelys, vol. 19 (1990), pp. 44-54 Dietrich Kessler A Seven-String Bass Viol by Michel Colichon Chelys, vol. 19 (1990), pp. 55-62 Letters, pp.63-4 Obituaries (Robert Donington; Marco Pallis), pp. 65-69 Reviews, pp. 70-80 [3] THE PROVISION OF TEACHING ON THE VIOLS AT SOME ENGLISH CATHEDRAL CHURCHES, c. 1594-c.1645: ARCHIVAL EVIDENCE IAN PAYNE This paper is intended to supplement an earlier article outlining the archival evidence for a viol-playing tradition at Trinity College, Cambridge, c.1594-c.1615.1 Like its predecessor, it is based on doctoral research among the administrative archives of selected institutions (of which only Ely, Lincoln, and Peterborough Cathedrals and York Minster are relevant to the present paper)2 and is concerned with the evidence for the provision of viols by the authorities.
    [Show full text]
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Treble Voices in Choral Music
    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
    [Show full text]
  • Verdi Falstaff
    Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • CHAN 3000 FRONT.Qxd
    CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • How to Read Choral Music.Pages
    ! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher).
    [Show full text]
  • Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's
    Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had.
    [Show full text]
  • Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
    MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler.
    [Show full text]