DOCSLIB.ORG

An Introduction to Baroque Ornamentation for Solo Trumpet Literature (1638-1709): a Preliminary Guide for Applied Trumpet Teachers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Introduction to Baroque Ornamentation for Solo Trumpet Literature (1638-1709): a Preliminary Guide for Applied Trumpet Teachers Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2008 An Introduction to Baroque Ornamentation for Solo Trumpet Literature (1638-1709): A Preliminary Guide for Applied Trumpet Teachers Adam Seth Mitchell Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Mitchell, Adam Seth, "An Introduction to Baroque Ornamentation for Solo Trumpet Literature (1638-1709): A Preliminary Guide for Applied Trumpet Teachers" (2008). Theses and Dissertations. 60. https://csuepress.columbusstate.edu/theses_dissertations/60 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Adam Sethi Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/introductiontobaOOmitc Columbus State University AN INTRODUCTION TO BAROQUE ORNAMENTATION FOR SOLO TRUMPET LITERATURE ( 1 638-1 709): A preliminary guide for applied trumpet teachers. A Graduate Music Project Presented in Partial Fulfillment of the Requirements for the Degree of Master of Music in Music Education Adam Seth Mitchell May 2008 The undersigned, appointed by the Schwob School of Music at Columbus State University, have examined the Graduate Music Project titled AN INTRODUCTION TO BAROQUE ORNAMENTATION FOR SOLO TRUMPET LITERATURE (1638-1709): A preliminary guide for applied trumpet teachers. presented by Adam S. Mitchell a candidate for the degree of Master of Music in Music Education and hereby certify that in their opinion it is worthy of acceptance. Abstract This graduate music project is designed to be a pedagogical supplement for high school trumpet teachers who wish to incorporate baroque music into their curriculum. This document addresses the interpretation and execution of select ornaments during the years 1638-1709. The chosen ornaments include the appoggiatura. mordent, inverted mordent, and trill. These notated ornaments were selected based on their relative frequent use in Italian Baroque music. These ornaments are defined via prose and supplemented with musical examples that illustrate their original notation and execution. In addition, musical excerpts from composers such as Jan Kfutel Jifi Neruda and Dominico Gabrielli will be cited as examples to show the notation of said ornaments in their original form and the historically correct way they should be performed. Table of Contents I. Introduction 1 II. Appoggiatura 1 III. Trill 5 IV. Mordent 9 V. Inverted Mordent 10 VI. Lesson Plans 11 Lesson 1 13 Lesson 2 15 Lesson 3 17 Lesson 4 20 Lesson 5 22 Lesson 6 24 Lesson 7 26 Lesson 8 28 Lesson 9 30 Lesson 10 32 VII. Conclusion 34 VIII. Appendix A 35 Exercise la, b 36 Exercise 2a 37 Exercise 2b 38 Exercise 2c 39 Exercise 3 40 Exercise 4 41 Exercise 5a 42 Exercise 5b 43 IX. Appendix B 44 Worksheet 1 45 Worksheet 2 49 X. Appendix C 51 Ornamented Music 1 52 Ornamented Music 2 56 XL Bibliography 58 XII. Additional Resources 59 iii I. Introduction The purpose of this project is to provide a guideline for high school trumpet teachers on how to incorporate Baroque ornaments into their curriculum. It is important to understand that the ornaments included are only a small selection. It is critical that the teacher clarifies to the student that there is an ample selection of Baroque ornaments and that the ornaments presented here were selected based on their relatively frequent use in Baroque music. The scope of this paper includes students from ninth grade through college. Likewise, the techniques discussed can be applied to all instruments and are not necessarily bound solely to trumpet playing. This paper is divided into two large sections. The first section defines and explains the appoggiatura, trill, mordent and inverted mordent. Each ornament is defined with prose and supplemented with musical examples to illustrate notation and execution. The second section presents lesson plans designed to introduce a student at the high school level to said ornaments. Each lesson is followed by an explanatory page to aid the teacher in presenting the lesson. In addition, musical excerpts from composers such as Jan Kfutel Jifi Neruda and Dominico Gabrielli are used to exemplify the original notation of the ornaments and provide the student with a piece of music to contextualize these ornaments. The appoggiatura, trill, mordent, and inverted mordent are indispensable ornaments in the Baroque style and should be included in a high school curriculum. II. Appoggiatura In Baroque music, the appoggiatura is not only ornamental but also essential to the style. Without this crucial ornament, melodies would sound deficient and bare (Quantz, 1966). The appoggiatura is one of the most common ornaments in Baroque music (Altenburg, 1974). The word appoggiatura comes from the Italian verb appogiare, which means "to lean" (Donington, 1989, p. 197). By definition, an appoggiatura is a dissonant note that precedes a consonant note. The appoggiatura is notated via a small note that precedes a principal note (the normal size note). See example 1. OR OR OR -o J> * r / Example 1 There are three characteristics that are necessary to create a leaning effect in performing appoggiaturas: duration, dynamic and articulation. The dissonance of the appoggiatura is to be accentuated or "leaned on" by elongating its duration. The duration of the appoggiatura depends on the value of the principal note. For example, if the principal note is a whole note in common time, then the auxiliary note receives two counts as does the principal note. For this reason, the number of flags on the appoggiatura is, in most cases, irrelevant (Quantz, 1966). Johann Altenburg provides three basic rules to the execution of appoggiaturas in regard to duration. The first rule states, if the Principal note can be divided into two ecpial parts, the appoggiatura receives half of the value thereof Example 2 illustrates the original notation on the top score and how it is to be performed on the bottom. e V, > Notation. « Application: '/ Example 2 (Altenburg, 1974, p. 109) The second rule refers to appoggiaturas on dotted principal notes: Ifthe principal note is dolled, then the duration of the appoggiatura is two parts of the value of the principal note. For example, if an appoggiatura is attached to a dotted half note in common time then the appoggiatura receives two counts and the principal note last only one count. See example 3. 4- j -j *- Notation: B i '"' Application: EgaE ' ¥ ; r i A Example 3 (Altenburg, 1974, p. 110) The last rule considers appoggiaturas on tied principal notes: If the principal note is tied to another note of the same pitch, then the appoggiatura receives the full value of the principal note. See example 4. ± Notation: £ i ffl Application: 0-0-0 2 ^Pt Example 4 (Altenburg, 1974, p. 110) Lastl). the remaining two aspects of the appoggiatura that need to be addressed are dynamic and articulation. Concerning dynamic, the auxiliary note should be emphasized over the principal note in order to accentuate the dissonance. This will create the feeling of tension and release necessary to convey an effective appoggiatura. Regarding articulation, the auxiliary note should be slurred to the principal note (Altenburg, 1974, p. 109). If both notes were articulated the same, the auxiliary note would be perceived almost as an equal to the principal note and the appoggiatura effect would not be as clear. Attention to these crucial performance practices highlight the auxiliary note and take attention away from the principal note, which is a consonance (Altenburg. 1974, p. 110). In other words, if the auxiliary note is not slurred to the principal note and a louder dynamic, it could be perceived a specific rhythm instead of an ornament. In summary, the combination of elongated duration, louder dynamic and slurred articulation culminates to produce a "leaning" effect that accentuates the desirable dissonance of the appoggiatura and creates a tension-release effect that gives expressiveness to the melodic line. Strict adherence to these performance practices will yield period-correct execution of the appoggiatura. III. Trill Trills are used in many types of music, but in Baroque music they arc a distinctive , characteristic. The trill is defined as "a rapid alternation between two adjacent tones'' ''vvvv,,, (Altenburg, 1 974, p. 111). The symbols used to notate a trill in music are tr and . They are written above the staff and can be used individually or together. When used "1wVW together, the tr is written first and followed by the \ See example 5. These symbols are placed over a single note, which is the principal note. The auxiliary note is always either a whole or half step above the principal note, dictated by the key signature. For example, if an A is trilled in the key of F then the auxiliary note is Bb because the key of F contains a Bb. Conversely, if an A is trilled in the key of C major, then the auxiliary note is B natural because the key of C major has a B natural. ir* a: Notation: Application: SSI Example 5 Example 5 shows how a trill is notated and how it should be performed. Notice how the trill starts on the auxiliary note. Even though there are exceptions, the standard Baroque method to execute a trill is to start with the upper note instead of the principal note (Donington, 1989). Trills are commonly used to embellish main cadence points and are practically imperative at ending cadences unless a different ornament is written or the composer specifically asks for simplicity (Altenburg, 1974). Often, these cadential trills were not written in the music by the composer, but performers at the time knew that they should be included.
Load more

Recommended publications
  • Education ______Ornamentation: an Introduction ______To the Mordent/Battement
    Education _______ _______ Ornamentation: An Introduction _______ to the Mordent/Battement By Michael Lynn, One of my favorite ornaments is the I’ll use the French term [email protected] mordent. It often has a lively musical character but can also be drawn out to battement ... and mordent his is the second article I have make a more expressive ornament. interchangeably. written that covers ornaments that Players are often confused about weT might expect to encounter in Baroque the different names for various orna- 17th-century music, which may be music for the recorder. If you haven’t read ments, as well as the different signs played on recorder. the previous article in this series on used to signify them. To add to the Some of the terms we see being ornamentation, it may be helpful complications, the basic term mordent applied to this ornament are: to you to read the Fall 2020 AR was used to mean something com- • mordent installment, which covers trills and pletely different in the 19th century— • mordant appoggiaturas. different from its meaning in the • battement In this issue, we will discuss the Baroque period. • pincé. mordent or battement. In this series of articles on learning I’ll use the French term to interpret ornament signs, I focus on battement (meaning to “hit” or “beat”) music from the years 1680-1750. If you and mordent interchangeably look much outside of these boundaries, throughout this article—remember the situation gets more complicated. that they mean exactly the same thing. These dates encompass all of the Below is an example showing the Baroque recorder literature, with common signs and basic execution the exception of the early Baroque of the mordent.
    [Show full text]
  • ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
    ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning.
    [Show full text]
  • Performance Commentary
    PERFORMANCE COMMENTARY . It seems, however, far more likely that Chopin Notes on the musical text 3 The variants marked as ossia were given this label by Chopin or were intended a different grouping for this figure, e.g.: 7 added in his hand to pupils' copies; variants without this designation or . See the Source Commentary. are the result of discrepancies in the texts of authentic versions or an 3 inability to establish an unambiguous reading of the text. Minor authentic alternatives (single notes, ornaments, slurs, accents, Bar 84 A gentle change of pedal is indicated on the final crotchet pedal indications, etc.) that can be regarded as variants are enclosed in order to avoid the clash of g -f. in round brackets ( ), whilst editorial additions are written in square brackets [ ]. Pianists who are not interested in editorial questions, and want to base their performance on a single text, unhampered by variants, are recom- mended to use the music printed in the principal staves, including all the markings in brackets. 2a & 2b. Nocturne in E flat major, Op. 9 No. 2 Chopin's original fingering is indicated in large bold-type numerals, (versions with variants) 1 2 3 4 5, in contrast to the editors' fingering which is written in small italic numerals , 1 2 3 4 5 . Wherever authentic fingering is enclosed in The sources indicate that while both performing the Nocturne parentheses this means that it was not present in the primary sources, and working on it with pupils, Chopin was introducing more or but added by Chopin to his pupils' copies.
    [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]
  • Basic Dynamic Markings
    Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Pipa by Moshe Denburg.Pdf
    Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques.
    [Show full text]
  • Unicode Technical Note: Byzantine Musical Notation
    1 Unicode Technical Note: Byzantine Musical Notation Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is.1 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),2 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use.
    [Show full text]
  • University Musical Society Ivo Pogorelich
    UNIVERSITY MUSICAL SOCIETY IVO POGORELICH Pianist Wednesday Evening, March 11, 1992, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Three Nocturnes .......... Chopin C minor, Op. 48, No. 1 E-flat major, Op. 55, No. 2 E major, Op. 62, No. 2 Sonata No. 3 in B minor, Op. 58 ... Chopin Allegro maestoso Scherzo: molto vivace Largo Finale: presto non tanto, agitato INTERMIS SION Valses nobles et sentimentales . Ravel I. Modere-tres franc II. Assez lent III. Modere IV. Assez anime V. Presque lent VI. Vif VII. Moins vif VIII. Epilogue: lent Sonata No. 2 in B-flat minor, Op. 36 Rachmaninoff Allegro agitato Non allegro L'istesso tempo - Allegro molto Ivo Pogorelich plays the Steinway piano available through Hammell Music, Inc., Livonia. Ivo Pogorelich is represented by Columbia Artists Management Inc., New York City. Activities of the University Musical Society are supported by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Thirty-first Concert of the 113th Season 113th Annual Choral Union Series Program Notes Three Nocturnes: Sonata No. 3 in B minor, Op. 58 C minor, Op. 48, No. 1 FREDERIC CHOPIN E-flat major, Op. 55, No. 2 he Sonata in B minor is the third and last of Chopin's piano sona­ E major, Op. 62, No. 2 tas. Composed in 1844, it is FREDERIC CHOPIN (1810-1849) approximately contemporaneous lthough the piano was over a with Chopin's three Mazurkas of century old by Chopin's time, Op.T 56, the Berceuse in D-flat, Op.
    [Show full text]
  • 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 ..............................................................
    [Show full text]
  • Fairfield Public Schools Music Department Curriculum Orchestra Skill Levels
    Fairfield Public Schools Music Department Curriculum Orchestra Skill Levels ORCHESTRA SKILL LEVEL I (Grade 4) A. Executive Skills 1. Exhibits proper posture and playing position 2. Exhibits proper rehearsal and performance procedures in ensemble playing 3. Understands effective practice habits 4. Demonstrates proper care and safety of instrument 5. Demonstrates proper right hand position 6. Demonstrates proper left hand position 7. Identifies parts of the instrument B. Tone Quality Students should: 1. Draw a straight bow 2. Demonstrate proper contact point between bridge and fingerboard 3. Demonstrate even bow speed 4. Produce a characteristic sound on the instrument 5. Use appropriate articulation techniques. 6. Play dynamics C. Bowing Demonstrates the following bow strokes and articulations: 1. Detache (legato) 2. Staccato 3. Two-note slur, three-note slurs and ties 4. Bow lifts 5. Right hand pizzicato 6. Left hand pizzicato 7. Imitate bowing patterns D. RHythms and Note Reading Read and play music which includes the following: 1. Rhythms using quarter, half, dotted half, whole, pair of eighth notes and corresponding rests 2. Demonstrate the ability to recognize and perform various rhythm patterns. 3. Read music in the following Time Signatures: 2/4, 3/4, 4/4 4. Identify and Perform symbols and terms: Half note, Clef, Time signature, Bar line, Repeat sign, Up bow, Down bow, Whole note, Staff, Quarter note, Eighth notes, Key signature, Quarter rest, Half rest, Whole rest, Dotted half note, Bow lift, Measure, Tie, Slur, Plucking and Bowing E. Scales and Scale Patterns 1. Scales Violin Viola Cello Bass G MA 1 octave 1 octave 1 octave 1 octave D MA 1 octave 1 octave 1 octave 1 octave I, (II & III Positions I I I on G string) F.
    [Show full text]
  • Notes, Rhythm, and Meter Notes
    Dr. Barbara Murphy University of Tennessee School of Music NOTES, RHYTHM, AND METER NOTES: Notes represent a duration or length of a sound. Notes consist of the head the stem and the flag or beam. note = head + stem + flag NOTE HEADS: The head of the note should be written as an oval (not a round circle) and should be centered on the line or space of the staff that represents the note. STEMS: Stems are notated on the right side of the note head and are ascending if the note head is on the 3rd line of the staff or below that line. Stems are notated on the left side of the note head and are descending if the note is on the 3rd line of the staff or above that line. Stems should be about 1 octave in length and should be straight up and down (not slanted). FLAGS: Flags are notated to the right of the stem whether the stem is on the right or left side of the note head. BEAMS: Notes should be beamed together to show the beat. Beams should therefore not cross beats. Beams should be straight lines, not curves. Beams may be slanted ascending or descending according to the contour of the notes. Beaming notes together may result in shortened or elongated stems on some notes. If beaming eighth notes and sixteenth notes together, sixteenth note beams should always go inside the beginning and ending stems. DURATIONS: Notes can have various durations and various names: American British (older version) double-whole breve whole semi-breve half minim quarter crotchet eighth quaver sixteenth semi-quaver thirty-second demi-semi-quaver sixty-fourth hemi-demi-semi-quaver These notes look like the following: double whole half quarter 8th 16th 32nd 64th whole In the above list, each note duration is one-half the duration of the preceding note duration.
    [Show full text]