Music Praxis II

Define the authentic cadence & its role in tonal music

-Authentic cadence > dominant sounding harmony resolving to the tonic harmony (V-I or V-i) -Strongest cadence because of the supertonic's presence to tonic progression & leading tone to tonic progression -Both supertonic & leading tone progressions exhibit the highest tension & release movements within music theory -2 types of authentic cadences: a. perfect -has both roots of V & I chords sounding in the bass -tonic note is the highest-sounding note on final chord b. imperfect -does not involve all conditions of perfect authentic cadence to be perfect -may have inverted chords

Describe the deceptive cadence

-Deceptive cadence (or interrupted cadence) > the dominant sounding harmony progressing to a harmony that defies that expected tonic harmony (submediant harmony) -Leading tone of dominant resolves to tonic of the key, but tonic pitch acts as the third or fifth of the chord, instead of the root -Dominant chord in deceptive cadence can progress to the submediant harmony (V-VI or V-vi) or subdominant harmony (V-IV or V-iv) -important compositional tool in avoiding an ending, delaying or prolonging an ending, or transitioning to another structural section of music -WEAK cadence because there is little to no sense of resolution in music

Define the plagal cadence & its common usage in Protestant hymns

-Plagal cadence (amen cadence) > the subdominant sounding harmony resolving to tonic harmony (IV-I or iv-i) -Not a final or strong cadence because of the absence of leading tone resolution -Often found as an extension of authentic cadence, embellishing final tonic through neighboring notes of third, fourth, fifth, & sixth scale degrees -Common ending to Protestant hymns -Composers use the 'amen' cadence as an allusion to its sacred usage

Describe the use of the Socratic method in guided listening to teach students self-assessment and to develop one's own musical expression

-Socratic method > philosophy of education set by ancient Socrates, which advocates use of questions in developing a student's critical thinking and intellect -questions compel the students to use critical thinking for a solution or answer -music educator can utilize this philosophy of education in all areas of music education, especially in guided listening to teach students self-assessment, critical thinking, & developing one's musical expression -guided questions encouraged & asking open-ended questions develops student's critical thinking abilities & intellectual curiosity

Explain how to care for and maintain woodwind instruments

-avoid damage by jewelry, buttons, or zippers -kept dry while in storage -wiped clean after use with the right swab -apply key oil to key pivot points on a monthly basis -small amount of cork grease to tenons and neck corks when needed -wipe down finish to remove fingerprints and oils from fingers, moisture, and other debris -no alcohol on any plastic parts -clean out mouth between eating and playing; clean weekly -discard reeds that are chipped or cracked, remove reed from mouthpiece, check metal ligatures for signs of damage for reed instruments -keep out of direct light and excessively warm, cold, or humid environments

Discuss five to seven types of dissonance found in tonal counterpoint

-avoid dissonances a. anticipation tone > dissonant yet unaccented -allowed if it is directly reharmonized b. cambiata > figure moves down a second to a dissonant pitch, down another third to a consonant pitch, & up a second that is dissonant or consonant c. appoggiatura > leap to a dissonance followed by a descending step d. suspension > dissonance sounds on downbeat and resolved downward by step e. passing tone > notes moving in stepwise motion through two consonant tones f. neighbor tone > notes moving in stepwise motion but returns to original consonant tone g. escape tone > dissonant note approached by a step and resolves by a leap in opposite direction

Describe how to care for and maintain stringed instruments

-avoid handling fragile varnish, which damaged by oils on hands -avoid damage by jewelry, buttons, or zippers -after each use, remove oil, rosin dust, and other debris with soft cloth -cloth must not be used on strings or hair of bow -instruments should be kept in a well-regulated environment away from exposure to direct light, too hot, or too cold temperatures, & too humid environments -failure to fix these things results in bending, cracking, glue joint separations, arching distortion, & other problems

Compare and contrast the instruments typically found in a concert band and a symphonic band

-both employ a wide range of instruments including brass, woodwind, & percussion families, as well as a variety of timbres, colors, & ranges 1. concert band -focuses on popular band music & orchestral transcriptions -parts > total: 40-50 players: a. 2 flutes b. 2 oboes c. 2 bassoons d. 3 clarinets e. 1 bass clarinet f. 4 saxophones g. 4 horns h. 3 trumpets i. 3 trombones j. 1 baritone horn k. 1 tuba l. 3-4 percussion instruments 2. symphonic band -more comparable to symphonic orchestra in range -parts > total: 90-120 players: a. string bass b. piccolo c. English horn d. harp e. bass trombone f. contrabassoon g. saxophone

Compare and contrast the whole tone scale and the chromatic scale

-both lack a clear tonal center; can start on any note a. whole tone scale -every pitch separated b a whole step -two whole tone scales in Western music tonality 1. C-D-E-F#-G#-A# 2. C#-D#-E#-F-G-A-B -use to increase complexity b. chromatic scale -every pitch is separated by a half step -includes all 12 pitches on an octave in Western music tonality -useful to give feeling of vague spaciousness

Compare and contrast the relative minor and parallel minor of a certain major key

-both used to modulate to a relative minor a. relative minor scale -shares same key signature as major scale -modulates through using any of the shared chords b. parallel minor scale -shares only same tonic pitch -offer same dominant chord

Describe how sound is produced on brass instruments

-brass instruments > produce sound through buzzing of player's lips as air travels through a tubular, expanding metallic wind instrument -lips are a vibrating valve producing oscillating air & pressure -as air vibrates through tubular instrument, some energy is lost as viscous & thermal energy, while rest emerges from instrument as sound -bell > tube on most brass instruments that gets larger toward the end of the tube -tube is often coiled so instrument is easier for player to hold -brass instruments can resonate at certain frequencies easier than others; to produce other tones, players can change length of instruments through valves or slides -narrower, more cylindrical brass instruments produce sharp & clear sounds (trumpet & trombone) -wider, larger-belled brass brass instruments produce warmer, darker sounds (French horn & euphonium)

Compare and contrast the desired timbre for classical singing traditions and popular music traditions

-differing aesthetics a. classical singing -high palate like a yawn -open, formal sound -rich, wide vibrato to add color -focus on pure vowel tones & clear consonants b. popular singing -more flexibility in shape of the mouth; use high & low palates -less vibrato -wide variety of sounds, timbres, and techniques (rasp, growl, and edge)

Describe how to manipulate brass instruments to produce dynamic changes

-dynamics for brass instruments are a product of volume of air moving through the instrument (velocity) -sound is produced through buzzing of player's lips -lip technique is crucial with dynamic changes -when moving from piano to forte, if embouchure is steady, the pitch needs to bend sharp or move to the next pitch "shelf" due to increased velocity -with lower dynamic ranges, player needs to decrease airflow velocity, which requires additional support through diaphragm and tighter embouchure

Describe the half cadence

-half cadence > harmony progressing to a dominant harmony -preceding harmony can be tonic, subdominant, supertonic, or any other harmony a. I64 -- V (tonic in second inversion resolving to dominant); cadential tonic six-four; shares bass note from six-four chord with resulting dominant chord; occurs at the end of the first section in a two-part or binary piece of music b. phrygian half cadence (first inversion subdominant chord proceeds to dominant c. Lydian half cadence (first inversion subdominant chord raised by half step & then resolved to dominant

Discuss methods of incorporating music theory instruction during a full rehearsal

-important to ensure student's music education is comprehensive, all-encompassing one, & not solely focused on performance -allow students a deeper understanding of music -methods incorporated: a. new theoretical concepts before rehearsing a piece -only give concise, direct introduction b. use appropriate language in explaining technical or musical problem when doing spot checks -further integrate music theory into musical performance & understanding c. brief verbal quizzes -keeps students accountable for musical theory learning

Discuss techniques for teaching musical imitation as an improvisational method

-improvisation cannot exist without imitation -imitation > allows students to learn techniques, progressions, melodic contour, & rhythmic patterns of improvisers of the past -students learn imitation from birth -language acquisition, gestures, & expressions learned through imitation -teaching imitation focusing on musical selection to imitate, allowing students to explore phrases in various keys and moods

Define the following interval types: perfect, major, minor, diminished, & augmented

-intervals measure semitones or half-steps between any two tones a. perfect interval > unison, fourth, fifth, & octave b. diminished interval > any perfect interval or minor interval lowered by a half-step c. augmented interval > any perfect interval or major interval raised by a half-step d. major interval > second, third, sixth, and seventh (diatonic major scale) e. minor interval > any major interval lowered by a half-step

Describe the appropriate sequence in teaching musical units leading to basic composition

-introductory concepts a. elements of notation & understanding and appreciation of musical patterns b. learn treble clef, meter, bar line, measure, staff, octave, & intervals c. examine theme & variation (learn how musical patterns function d. start with short eight-measure phrases, working on sequencing and patterning of music e. imaginative examples to demonstrate sound patterning f. focus more on transcriptions, cadences, & different tonalities

Describe the elements of music needed in order to successfully perform a piece of music

-know more than correct notes and rhythm -should analyze all aspects of melody, rhythm, harmony, and form of piece -thorough analysis of melody helps performer to know where climax is, time musical tension, & release of overall piece -thorough analysis of rhythm helps performer to be aware of transitions the composer is suggesting -thorough analysis of harmony helps performer to hold clues of structure of work -thorough analysis of historical context helps performer to know intention and purpose of composition, thus better executing dynamics, articulations, & releases

Describe the different forms of metrical accenting

-metrical accenting > natural stresses on certain beats of a meter -defined by meter itself or by style or origin of musical rhythm a. 3/4 meter -metrical accent falls on first beat of the measure b. 4/4 meter -primary stress on downbeat of the measure c. 6/8, 9/8, and 12/8 -natural accent on first of every group of three eighth notes -for jazz and world music, accents may be on second and fourth beats for stylistic accuracy

Describe the roles of each instrument family within the Classical orchestra in regards to melody and accompaniment

-music became highly homophonic with focus on melody and accompaniment textural form -Baroque > strings & woodwinds doubled to play certain lines -Classical > first violins now the dominant string section while lower strings became supporting background harmonically and rhythmically; winds simplified from Baroque contrapuntal lines and now supporting background harmonies as well -Mozart restored wind section's melodic role within orchestra; bassoon became independent; brass began to be used in greater capacity

Discuss the role of improvisation in musical creativity

-musical creativity holds improvisation as the core of internal process through formation of new ideas, sounds, and direction -improvisation > core vehicle of creativity within the musical realm -can foster freer musical creativity through singing or playing along to a track -allows students to explore different timbres, harmonies, and tones with freedom -can use mental imagery and mystery; conceptualize new and different feelings, moods, and sounds

Describe how sound is produced on percussion instruments

-percussion instruments are instruments producing sound by being hit, scraped, or shaken; other drums produce sound through vibration of membrane around resonating body -membranophones > membrane struck by hands or mallets, rubbed or scraped -idiophones > other percussion instruments produce vibrations without aid of air, string, or membranes -concussion idiophones > two objects struck together; examples: rhythm sticks, castanets, & claves -percussion idiophones > instruments struck by mallets (marimbas, bells, gongs, & xylophones) -rattles > shaken like maracas -scrapers > stroked across notched surface (washboards and guiros) -friction idiophones > played by rubbing & include musical saw & glass harmonica

Define equal - and unequal - voice polyphony

-polyphony > texture of music that is made up of many equally important melodic lines -Renaissance and Baroque music a. equal polyphony -polyphony maintaining the same thematic material in all individual voices -example: canon, fugue, inventions, & other forms of imitation b. unequal voices -polyphony is given to one or more melodic lines -examples: Medieval-era cantus firmus, sung or played in the tenor voice

Describe the standard instrumentation of the concert band as prescribed by members of the American Band Association

-prescribed by members of American Band Association to cultivate concert band as an essential performing ensemble in American musical culture -publishers > Boosey & company & Chappell; help grow repertoire of concert bands -standard instrumentation according to American Band Association, totaling 40-50 performers a. 2 flutes b. 2 oboes c. 2 bassoons d. 3 clarinets e. 1 bass clarinet f. 4 saxophones g. 4 horns h. 3 trumpets i. 3 trombones j. 1 baritone horn k. 1 tuba l. 3-4 percussion instruments

Describe how to care for and maintain brass instruments

-regular care & maintenance 1. instruments should always be handled with care -avoid handling finish & wipe away any oil, dirt, & other debris with a soft cloth after handling -avoid any damage from jewelry, buttons, or zippers 2. use swab before storage to remove as much moisture as possible from inside instrument; remove mouthpiece before storage 3. for valved instruments, apply small amount of valve oil lubricant before playing; clean & lubricate all slides, remove old lubricant, & use a small amount only -keep instrument in a cool environment not too dry or too humid

Describe how to involve students in caring for and maintaining Orff instruments

-regular care & maintenance of Orff instruments helps to prolong life of instruments -students can be involved in taking care of these instruments -idea: provide end-of-year including cleaning of all Orff instruments 1. remove instrument bars & start vacuuming all dust from instrument 2. take damp rag with oil soap to wash & clean boxes & wooden bars 3. take oil polish to keep instrument in proper, working condition

Describe how to care for and maintain percussion instruments

-regular maintenance and inspection depending on instrument involved a. timpanis -inspected for an even and smooth head with balanced action; greased rim annually with lubricant like cork grease -others should not be lubricated -keep timpani covered when not using b. mallet instruments -metal bar instruments wiped regularly with glass cleaner -wooden bar instruments wiped regularly with dampened cotton cloth or rag -frequent inspections made to ensure there are no splintered or cracked bars c. drums -regularly maintained through cleaning and lubricating of hardware -inspect the rims, counterhoop, and head or serious issues warrant repair or replacement

Discuss the conductor's influence on an ensemble's musical expression in performance

-rhythmic timing of players and other musical logistics -establish emotional content & musical expression of performance -utilize entire body in conveying musical expression of piece -energetic section > exaggerate movements in a quicker manner with animated expression on face -somber section > conduct with heavier, sower movements with grave expression on face

Name all scale degrees and describe how they are usually indicated in musical notation

-scale degree > assigned number to sequential notes of any major or minor scale -Western tonal language is transposable in all keys; aids comprehensive musical analysis -pitches numbered 1-7; showed in Roman numerals (upper-case for major and lower-case for minor) -I, ii, iii, IV, V, VI, viio -I = tonic -ii = supertonic -iii = mediant -IV =subdominant -V = dominant -VI = submediant -viio = leading tone or subtonic

Compare and contrast Baroque improvisation and jazz improvisation

-separated by more than two centuries of musical development -prominent section & supporting harmonic section -follow standard form in performance -32-bar form or ritornello (ABACA) form -based on outlined chord symbols directing the melody a. Baroque improvisation -religious element in churches of the time -centered on string instruments b. jazz improvisation -born in bars and alleyways of New Orleans -wide array of instruments (from brass & voices to drum kits & banjos)

Describe how sound is produced on stringed instruments

-sound is produced through vibrations of strings on resonating body made of wood -strings are made of either nylon, steel, or silk; set in motion by plucking, bowing, or striking -as string sets surrounding air in motion, it vibrates soundboard through bridge as resonant vibrator and audible tone effuses out through a sound hole -pitches on stringed instruments are modified by string tension, thickness, & length -higher the tension, the higher the pitch -thicker the string the lower the pitch -longer the string, the lower the pitch -strings parallel to soundboard

Describe ternary form

-structure of musical composition with thematic, tonal, dynamic, and textural structure -3 main sections where first & third sections are almost identical with a contrasting second section a. Section A > home or tonic key b. Section B > related key & cadences in the same key or another closely related key -sections may repeat but not required -ternary form is a closed form

Describe the necessary musical skills for composing a harmonic progression with proper root motion

-students understand circle of 5ths relationship between all 24 diatonic major and minor keys -system helps students in creating key signatures and key relationships within chord progressions -scales have formulaw and spellings, whole & half tones, & concept of diatonic harmony -understand all inversions of triads & seventh chords as composition of proper root motion assumes incorporation of appropriate inverted chords -composition of harmonic progressions is proper voice leading of all four SATB voices

Discuss various techniques in teaching musical aesthetics and expression

-teach aesthetics and expression -demonstrate various physical and aural attributes of expression to student -various visual and aural models of expressive representation to integrate technique and sound into his or her expressive voice -teacher can use guided listening to teach musical aesthetics to students -students can listen to individual expression of other performers in developing one's own musical aesthetic -music educator can analyze, reflect, and evaluate

Describe the physiological mechanisms of singing

-three main vocal parts: a. air supply -taken into lungs by inspiratory muscles, especially diaphragm, & emptied from lungs by expiratory muscles b. vibrator -vocal folds held within voice box or larynx at the top of trachea -sound produced when air passes through vocal folds through the opening called the glottis & vocal folds vibrate c. resonator -sound produced when air passes through resonators, principally pharynx & mouth cavities -influence tonal quality of sound through cavity shapes & surfaces

Describe how the tonal characteristics of instruments relate to their use in orchestration

-tonal characteristics of instrument families to layer each sound into a collective whole a. strings -rich tonal quality and form basis of orchestral textures -variety of sounds and techniques -function as melody, supporting harmony, or rhythmic texture b. high brass -clear, focused tonal quality -used melodically or as a crisp rhythmic flourish c. low brass -provide bass lines and rhythmic motives d. woodwinds -function as melody, supporting harmony, or rhythmic texture e. percussive instruments -rhythmic role in orchestral writing -used as melodic interest through marimba, timpani, & other melodic percussion instruments

Describe 12-tone music and its origin

-twelve-tone music > system of musical theory where a composition is based on a serial ordering of all 12 pitches stipulating the sequence where those 12 pitches appear in the composition -arose as a result of growing distaste for traditional tonal music -allowed music to be planned in an abstract manner -serial row establishes pitch structure of resulting composition -rows manipulated through: a. retrograde b. inversion c. retrograde-inversion -Arnold Schoenberg > leading Australian composer of Second Viennese School; developed theory of composition in early 1920s and continued to compose 12-tone music throughout

Describe how sound is produced on woodwind instruments

-woodwind instruments > produce sound through vibrations in an enclosed tube -vibration created by blowing through single or double reeds, across or through an opening a. single-reed woodwind > produce sound when air is blown through a reed vibrating against the mouthpiece (clarinet & saxophone) b. double-reed instrument > produce sound when air is blown through two reeds tied together & vibrate (oboe, bassoon, & sarrusophone) -transverse flutes > woodwinds producing sound when player blows across an opening -woodwinds producing sound when player blows directly into an opening = whistle & recorder -player can change pitch by shortening or lengthening air column through covered holes or keys

Describe the circle of fifths

Circle of fifths > the relationship & pattern of major & minor keys from one to the next as they move up or down in fifths -The model is displayed so that eventually, with enharmonic naming, it goes through all 12 keys back to C -a sharp or flat is added depending on the direction of the circle; sharps are added going clockwise & flats are added going counterclockwise -applied to both major & minor keys -useful in determining the degree of relatedness among keys

Describe eight to ten dynamic markings commonly used in music

Dynamic markings > Italian markings indicating softness or loudness of a piece; gradual change a. Pianissimo (pp) > very soft b. Piano (p) > soft c. Mezzo piano (mp) > moderately soft d. Mezzo forte (mf) > moderately loud e. Forte (f) > loud f. Fortissimo (ff) > very loud a. Crescendo > increasingly louder b. Decrescendo > increasingly softer

Describe the difference between a tonal & real answer to a fugal subject

Fugue > means "to flee"; form of imitative counterpoint where a fugue theme is introduced at the beginning of the work (exposition), & is echoed in all fugal voices through imitation & development -Each voice chases the other -Initial subject is the leader (or dux) presented in the tonic key -Dux is followed by the comes, the companion answer in the dominant key -Comes responds in 2 ways: a. real answer -theme is transposed exactly note to note in the dominant key b. tonal answer -theme is transposed loosely in the dominant key, modified to maintain harmonic congruity or facilitate modulations

Define hemiola

Hemiola > means "one and a half"; ratio of three to two; interval of the fifth made up of two strings with lengths of 3:2; refers to the rhythm of three notes in a space that usually has only two notes in succession or simultaneously 2 types of hemiola: a. horizontal hemiola (succession) -a change in note values; for example, 3 half notes follow a measure of 2 dotted half notes in 6/4 meter b. vertical hemiola (simultaneously) -rhythmic syncopation; for example, 3 quarter notes play over 2 dotted quarter notes in 6/8 meter -theorists prefer 'sesquialtera' instead of vertical hemiola because of it is more accurate representation

Name & describe the 3 principle registers commonly referred to in the classically trained voice

Men: a. chest > lower ranges of the voice; heavier b. head > upper ranges of the voice; lighter c. falsetto > highest ranges of voice; breathy; lacks overtones Women: a. chest > lower ranges of the voice; heavier b. middle > upper ranges of the voice; lighter c. head > highest ranges of voice; breathy; lacks overtones

Compare & contrast the natural, melodic, & harmonic minors

Minor scale > pattern of whole & half steps: whole-half-whole-whole-half-whole-whole; similar to the Aeolian mode of Renaissance era or the natural minor scale in Western tonal theory today Similarities: -all minor scales -patterns applied to any of the 12 pitches to produce the scales Differences: a. natural minor > no alterations to the Aeolian mode b. harmonic minor > seventh note is raised by a half step going up and down c. melodic minor > sixth & seventh notes are raised by a half step going up & then both lowered to match natural minor going down

Compare & discuss the differences between contrary motion, parallel motion, similar motion, & oblique motion

Similarities: -all refer to the simultaneous movement of 2 or more musical lines -describe vocal & instrumental musical lines moving in parts at the same time Difference: a. contrary motion > motion of 2 musical lines moving in parts at the same time in opposite directions b. parallel motion > motion of 2 musical lines moving in the same direction going up or down, while maintaining the same interval between the lines c. similar motion > motion of 2 musical lines moving in similar directions going up or down, but not maintaining the same interval between the lines d. oblique motion > motion of 2 musical lines where one line stays stationary while the other musical line moves up or down

Compare & contrast binary & rounded binary form

Similarities: -both are structures of musical compositions with regard to thematic, tonal, dynamic, & textural structure -both have an A, A', and/or B sections that are repeated Differences: a. binary (simple binary) > open form; neither A nor A' exist independently > for example: A-A-B-B b. rounded binary >

Compare & contrast compound & simple meters

Similarities: -numbers in the meter refer to the subdivision of beats within a musical measure -top number (numerator) > number of pulses or beats in a measure -bottom number (denominator) > specifies which note-value gets a pulse Differences: a. simple meter -number of beats cannot be subdivided into smaller groups -2/4, 4/4, 2/2, 4/2, 5/2, & 3/4 b. compound meter -number of beats can be subdivided into groups of 3 -6/8 (2 beats subdivided into 6 pulses per measure), 9/8 (3 beats subdivided into 9 pulses per measure), & 12/8 (4 beats subdivided into 12 pulses per measure)

List & name all inversions of triads & seventh chords

a. Triads 1. root position > root of the chord is the lowest-sounding pitch (g-b-d) 2. first inversion > third of the chord is the lowest-sounding pitch (b-d-g') 3. second inversion > fifth of the chord is the lowest-sounding pitch (d-g'-b') b. Seventh chords 1. root position > root of the chord is the lowest-sounding pitch (g-b-d-f) 2. first inversion > third of the chord is the lowest-sounding pitch (b-d-f-g') 3. second inversion > fifth of the chord is the lowest-sounding pitch (d-f-g'-b') 4. third inversion > seventh of the chord is the lowest-sounding pitch (f-g'-b'-d')

List four to five Italian tempo markings and their relative designations

a. adagio > at ease b. moderato > moderately c. presto > very fast d. andante > at a walking pace e. allegro > lively, merry

Describe imperfect and perfect cadences

a. perfect cadence -authentic or plagal -perfect if both chords are in root position & tonic pitch sounds in highest voice -e.g. of perfect authentic cadence: V-I -e.g. of perfect plagal cadence: IV-I b. imperfect cadence -authentic or plagal -imperfect if chords are in an inversion and/or tonic pitch does not sound in highest voice -e.g. of imperfect authentic cadence: V6-I -e.g. of imperfect plagal cadence: IV-I

Describe how to manipulate stringed instruments to produce dynamics changes

a. playing with a bow > affects dynamics, speed, and pressure; faster and more pressure results in a louder sound; slower and less pressure results in a soft sound b. plucking > affects dynamics; heavier and quicker release results in a louder sound; lighter and slower release results in a soft sound

Discuss simple and compound musical form, giving examples of each

a. simple musical form -tonal work seen as complete & self-contained work not divisible into other, smaller, self-contained works -binary & ternary forms -thematic sections labeled as "A" or "B" b. compound musical form -tonal work seen as a composite form made up of other, smaller simple forms, such as binary & ternary forms -minuetto & trio, sonata movements, symphony movements, string quartets, and suites

List the four conventional parts of four-part harmony and the general ranges of each part

a. soprano -c' to a" (C4 = middle C; to A5) b. alto -F to d" (F3-D5) c. tenor -B to g' (B2-G4) d. bass -E to c' (E2-C4 = middle C) e. baritone -G to e' (G2-E4) f. mezzo-soprano -A to f" (A3-F4) -most complex of instruments

Discuss techniques for teaching musical variation as an improvisational method

a. thematic variation b. melodic variation c. rhythmic variation d. stylistic variation e. harmonic variation -begin with slight variations within a controlled framework -students explore variation through melodic variation first -melodies instroduce appoggiaturas, silence, and added neighbor notes until melody is varied -educators can use call and response as a continued variation o riff -incorporate improvisations by students in every concert or project as a extra motivator

List the four main clefs commonly used in orchestral writing, and the instruments that typically employ each clef

a. treble clef -known as G clef -spiral of symbol circles G-line on the staff -violin, woodwinds, high brasses, and treble range of keyboard instruments b. alto clef -known as C clef -middle point of symbol rests on third line as middle C -viola c. tenor clef -middle point of symbol rests on fourth line as middle C -cello, bassoon, and trombone d. bass clef -known as F clef -two dots of symbol surround the F-line -double bass, cello, bassoon, trombone, low brasses, & bass range of keyboard instruments

Describe a tone cluster and the origin of the term

tone cluster > a group of closely spaced notes played simultaneously, usually in intervals of adjacent seconds & groupings, or "clusters" -stacks of more than two neighboring notes, three being the minimum a. diatonic -only neighboring notes in diatonic key are being used b. chromatic -notes separated by a half-step are used c. dia-chromatic -both diatonic seconds and chromatic notes are used -rarely appeared in music before 1900s & not considered definite compositional tool until 1900s -Henry Cowell (1897-1965) > termed concept of "tone cluster"; appears in compositions by Western classical composers -other composers: Charles Ives, Bela Bartok, Lou Harrison, Henry Cowell, Olivier Messiaen, Karlheinz Stockhausen, & George Crumb, & jazz and popular music