-
Chords
- arpeggio
-
Triads
-
augmented
- M3 M3
-
diminished
- m3 m3
-
major
- M3 m3
-
minor
- m3 M3
- block chord
-
Progressions
- contrary motion
- Blues
- dominant
-
Positions
- close
- open
-
Seventh Chords
- dominant seventh
-
Inversion
- 1st Inversion
- 2nd inversion
- 3rd inversion
- figured bass
- root position
- Primary Triad/Chord
-
Chord -Member Names
- root
- third
- fifth
- seventh
-
Roman Numeral Symbols
- Major Key Roman Numeral Symbols
- Minor Key
-
Symbology
-
Articulation
- accent
- legato
- marcato
- sforzando
- simile
- slur
- staccato
- tenuto
-
Dynamics
- crescendo
- decrescendo
- diminuendo
- forte
- fortissimo
- mezzo forte
- mezzo piano
- pianissimo
- piano
-
Expression
- dolce
- expressivo
- grazioso
- maestoso
-
Italian Terms
- molto
- mezzo
- -issimo
-
Ornament
- turn/mordent
- trill
- grace note
- appogiatura
-
Pitch
-
accidentals
- double flat
- double sharp
- flat
- natural
- sharp
- enharmonic notes
-
Clef
-
Bass (F) Clef
- Lines (GBDFA)
- Spaces (ACEG)
-
Treble (G) Clef
- Lines (EGBDF)
- Spaces (FACE)
- Alto (C) Clef
-
Staff
- bass staff
- Grand Staff
- ledger line
- treble staff
- C-staff (alto/tenor)
-
octave
- 8va
- Middle C
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Form/Structure
- AB (Binary)
- ABA (Ternary)
- Chorus
-
Terminology/Symbology
- 1st and 2nd endings
- coda
- bar line
- Da Capo
- D.C. al Coda
- D.C. al Fine
- D.S.
- double bar
- fine
- repeat sign
- segno
- refrain
- Rondo
- three part form
- two part form
- verse
-
Pitch Collections
-
arpeggio
- broken chord
- chromatic
- Circle of Fifths
-
degree
- tonic
- supertonic
- mediant
- subdominant
- dominant
- submediant
- leading tone
-
Modes
- Aeolian
- Dorian
- Ionian
- Locrian
- Lydian
- Mixolydian
- Phrygian
-
Keys
-
Minor
- Harmonic
- Melodic
- Natural
- enharmonic keys
- Key Signature
-
Major
- W W H W W W H
- relative
- enharmonic minor
-
solfege
- moveable "do"
-
tetra
- tetrachord
-
Interval
- chromatic
- diatonic
-
Interval Quality
- augmented
- diminished
- major
- minor
- perfect
- even numbered intervals
- odd numbered intervals
-
Two kinds of intervals
- melodic
- harmonic
- Prime
- roman intervals
- Unison
- Octave
- Tritone
- half step
- whole step
-
Naming Intervals
- generic name
- specific name
-
Jazz
- blue note
- Blues Scale
- Blues
-
Rhythm
- count off
-
Tempo
- accelerando
- adagio
- allegro
- allegro moderato
- andante
- largo
- meno mosso
- moderato
- piu mosso
- ritardando
- vivace
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Time Signature
- alla breve
- Common Time
- Cut Time
-
Macrobeat
- duple
- triple
- quadruple
-
Microbeat
- simple
- compound
-
Symbology
-
dot after a note
- dotted eighth note
- dotted half note
- dotted quarter note
- fermata
- measure
-
duration
-
sound
- Triplet
- eighth note
- half note
- eighth note
- quarter note
- sixteenth note
- whole note
-
silence
- rests
- eighth
- half
- quarter
- sixteenth
- whole
- tie
- incomplete measure
- syncopation
-
Rhythmic Solfege
- du ta de ta
- du ta da ta di ta
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Compose
- harmonize
- improvise
- accompany
- non-harmonic tones
- parallel motion
- motive
- passing tone
-
Melody
- neighboring tone
- lower neighboring tone
- phrase
- upper neighboring tone
- tessitura
- transposition
-
Unfiled
- keynote
-
Tuning/Acoustics
- octave reciprocity
-
equal tempered
-
tendencies
- m2 raise 11.73 cents
- M2 raise 3.91 cents
- m3 raise 15.64 cents
- M3 lower 13.68 cents
- P4 lower 1.95 cents
- Tritone raise 3 cents
- P5 raise 1.95 cents
- m6 raise 13.68 cents
- M6 lower 15.64 cents
- m7 lower 3.91 cents
- Dominant 7th lower 31.17 cents
- M7 lower 11.73 cents
- cents
- just intonation
-
Instrument Specific
-
Valves
-
1st valve
- adjusts pitch 1 step, tends flat
-
2nd valve
- adjusts pitch 1/2 step, tends sharp
-
1st + 2nd
- tends sharp, use 1st valve slide
-
2nd + 3rd
- tends flat, lip up (no slide)
-
1st + 3rd
- tends sharp, use 3rd valve slide
-
1st + 2nd + 3rd
- tends very sharp, use 1st and 3rd valve slide
-
Baroque (1600-1750)
-
Historical Themes
- increasing importance of scientific investigation
- culmination of royal despotism
- Development of the New World
- Artificiality and marvelous effect were valued in the arts
-
Musical Context
- A time of experimentation
- Expanding roles for music
- A growing awareness of national styles
- The full equality of instrumental music
-
Style
- The basso continuo is ever-present in Baroque music.
- Textures are primarily melody and accompaniment or contrapuntal.
- Voices and instruments were freely mixed.
- Newly developed instruments provided a rich palette of tone color.
- Rhythms are often derived from dance rhythms.
- Melodies are ornate and often make use of dramatic leaps.
- Harmony is based on major/minor tonality, and dissonances become more common.
- Repetition and simple binary and ternary forms provide the basis for musical structure.
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Composers
- Claudio Monteverdi (1567-1643)
- Henry Purcell (1659-1695)
- Antonio Vivaldi (1678-1741)
- George Frideric Handel (1685-1759)
- Johann Sebastian Bach (1685-1750)
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Middle Ages (450-1450)
-
Historical Themes
- spread of Christianity
- development of a European culture
- influence of Islamic culture
-
Musical Context
- music of the church
- beginning of musical notation
- birth of polyphony
- rise of courtly culture
-
Style
-
monophonic
- A simple monophonic texture might be enriched by the use of drones and (in secular music) percussion.
- Rhythm was often not notated. We assume that it was tied to text in vocal music and to dance in instrumental music.
- Melodies are often long and flowing. Texted music is often melismatic.
- Form comes from text in vocal music. The structure of instrumental music is based on repeating sections.
-
polyphonic
- Voices and instruments were often mixed.
- Nonimitative counterpoint, with voices moving at different rhythmic speeds, is the primary texture.
- Rhythms are often restless and active.
- Melodies are long and asymmetrical.
- Harmony is based on open fifths and octaves.
- Dissonances are often sharp and unexpected.
- Pieces are often built on a cantus firmus, and the structure is formed from repetitions of that melody.
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Composers
- Anonymous
- Hildegard von Bingen (1098-1179)
- Guillaume de Machaut (c.1300-1377)
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Renaisssance (1450-1600)
-
Historical Themes
- rebirth of classical learning
- gradual change from feudal system to the modern state
- change in people's views of earth and the cosmos
-
Musical Context
- increased interest in humanist learning
- increased patronage of music
- territorial expansion and increased wealth
-
Style
- sacred
- secular
- instrumental
-
Composers
- Guillaume De Fay (1397-1474)
- Josquin Desprez (c.1440-1521)
- Giovanni Pierluigi da Palestrina (c.1525-1594)
- Claudio Monteverdi (1567-1643)
-
Classical
(1750-1825)
-
Historical Themes
- The Industrial Revolution
- The philosophy of the Enlightenment
- The political ideals of republican government
-
Musical Context
- Art and "Nature"
- The social role of music
- The concept of nature in the arts
-
Style
- Simpler textures
- Simpler melodies
- The piano
- Simpler, rational forms
-
Composers
- Franz Joseph Haydn (1732-1809)
- Wolfgang Amadeus Mozart (1756-1791)
- Ludwig Van Beethoven (1770-1827)
-
Romantic (1825-1900)
-
Historical Themes
- The increasing importance of science in defining a worldview
- The rise of European nationalism
- A growing autonomy for the arts
-
Musical Context
- Increased interest in nature and the supernatural
- The rise of program music
- Nationalism and exoticism
- Changing status of musicians
-
Style
- Dynamic range is wider, and there is a larger range of sound.
- There is a greater variety of instruments, including improved or newly-invented wind instruments.
- Melodies are longer, more dramatic and emotional.
- Tempos are more extreme, and tempo rubato is often called for.
- Harmonies are fuller, often more dissonant.
- Formal structures are expanded. These are often determined by the programmatic content of the piece.
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Composers
- Franz Schubert (1797-1828)
- Hector Berlioz (1803-1869)
- Frédéric Chopin (1810-1849)
- Robert Schumann (1810-1856)
- Giuseppe Verdi (1813-1901)
- Clara Schumann (1819-1896)
- Bedrich Smetana (1824-1884)
- Johannes Brahms (1833-1897)
- Peter Ilich Tchaikovsky (1840-1893)
- Antonin Dvorák (1841-1904)
- Claude Debussy (1862-1918)
-
20th Century (1900-present)
-
Historical Themes
- Phenomenal changes in technology
- The advent of instantaneous global communications
- The growth and eventual decline of totalitarian culture
-
Musical Context
- Ambivalant attitudes toward the musical past
- A widening gap between "art" and "popular" music
- The advent of sound recording
- The birth of a "World Music" culture
-
Style
- All sounds are possible (even no sounds).
- New instruments and the sounds of popular music have changed the soundscape of the twentieth century.
- Contrapuntal textures prevail in art traditions. Popular traditions are centered on homophonic textures.
- Rhythmic language can be enormously complex.
- Melodies can be long and abstract or reduced to small gestures.
- Any harmonic combination is possible. Composers have made use of extreme dissonance as well as microtonal intervals.
- Form can be controlled to an almost infinite degree, or it may be the result of improvisation and chance.
-
Composers
- Scott Joplin (1868-1917)
- Arnold Schoenberg (1874-1951)
- Charles Ives (1874-1954)
- Maurice Ravel (1875-1937)
- Igor Stravinsky (1882-1971)
- Serge Prokofiev (1891-1953)
- Duke Ellington (1899-1974)
- Aaron Copland (1900-1990)
- Leonard Bernstein (1918-1990)
- George Crumb (1929- )
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Instrument-Specific Skills
-
Brass
- double tonguing
-
Breathing
-
Wall of Sound
-
stagger breathing
- do not break phrase connections
- when you do breathe, take a full, rhythmic breath
- when you breathe, it is okay to leave a note out
- after you breathe, play every note
- sneak in and sneak out, no one should know you took a breath
-
Breathing Mechanics
-
shape of the mouth
- "whoa"
- Breathe from bottom up
- expand rib cage
-
diaphragm
- expand down and out
- shoulders down
-
Articulation
- staccato
- staccatissimo
- legato
-
tenuto
- "doo" articulation
- accent
- marcato
-
lifted
- "dah" articulation
- rapid burst
-
Bowings
-
On The String
-
grande detaché
- default stroke that you get when you play “normally”
- Louré
- Staccato
- Martelé
- Marcato
- Tremolo
- Sul Tasto
- Sul Ponticello
-
Off The String
- Spiccato
- Sautillé
- Ricochet
- Col legno
- Pizzicato
- Leadership
-
Behavior/Etiquette
- Classroom Behavior
-
Rehearsal Behavior
- Tradition and Etiquette
- Goal Setting
-
CHECKPOINTS
- Pre-Test Year 1
- Pitch Checkpoint
- Major Scale Checkpoint
- Rhythm Checkpoint
- Minor Scales Checkpoint
- Interval Checkpoint
- Triads Checkpoint
- Articulation & Dynamics Checkpoint
-
Aural Skills
-
Intervals
-
Interval Comparison
- Level 1 - All simple intervals, with intervals played ascending only, melodically and from the same starting note.
- Level 2 - All simple intervals, with intervals played ascending or descending, melodically and from the same starting note.
- Level 3 - All simple intervals, with intervals played ascending only, melodically and from starting notes that are separated by a maximum interval of a perfect 4th.
- Level 4 - All simple intervals, with intervals played ascending or descending, melodically and from starting notes that are separated by a maximum interval of a major 6th.
-
Recognize Intervals
- Level 1 - Perfect 4ths, 5ths, Octaves - ascending only, played melodically.
- Level 2 - Perfect 4ths, 5ths, Octaves - ascending and descending, played melodically.
- Level 3 - Perfect 4ths, 5ths, Octaves, Major 2nds, 3rds - ascending only, played melodically.
- Level 4 - Perfect 4ths, 5ths, Octaves, Major 2nds, 3rds - ascending and descending, played melodically.
- Level 5 - Perfect 4ths, 5ths, Octaves, Major 2nds, 3rds, Minor 2nds, 3rds, Tritones - ascending and descending, played melodically.
- Level 6 - Perfect 4ths, 5ths, Octaves, Major 2nds, 3rds, 6ths, Minor 2nds, 3rds, 6ths, Tritones - ascending and descending, played melodically.
-
Scales
- Recognize harmonic minor
- Recognize major scales
- Recognize melodic minor scales
- Recognize natural minor scales
- Play/Sing Concert A Major scale and three forms of f# minor
- Play/Sing Concert Ab Major scale and three forms of f minor
- Play/Sing Concert B Major scale and three forms of g# minor
- Play/Sing Concert Bb Major scale and three forms of g minor
- Play/Sing Concert C Major scale and three forms of a minor
- Play/Sing Concert D Major scale and three forms of b minor
- Play/Sing Concert Db Major scale and three forms of b Flat minor
- Play/Sing Concert E Major scale and three forms of c# minor
- Play/Sing Concert Eb Major scale and three forms of c minor
- Play/Sing Concert F Major scale and three forms of d minor
- Play/Sing Concert G Major scale and three forms of e minor
- Play/Sing Concert Gb Major scale and three forms of e Flat minor
-
Sing
- Major and Perfect intervals ascending
- Minor and diminished intervals ascending
- All Major scales
- All minor scales
-
Meter Recognition
- Level 1 - Percussive extracts of 4 bars in 2/4, and 3/4, including eighth notes/quavers, quarter notes/crotchets, half notes/minims.
- Level 2 - Percussive extracts of 4 bars in 2/4, 3/4 and 4/4, including eighth notes/quavers, quarter notes/crotchets, half notes/minims.
- Level 3 - Percussive and melodic extracts of 4 bars in 2/4, 3/4 and 4/4, including eighth notes/quavers, quarter notes/crotchets, dotted quarter notes/crotchets, half notes/minims.
- Level 4 - Percussive extracts of 4 bars in 2/4, 3/4, 4/4 and 6/8, including eighth notes/quavers, quarter notes/crotchets, dotted quarter notes/crotchets, half notes/minims.
- Level 5 - Melodic extracts of 4 bars in 2/4, 3/4, 4/4 and 6/8, including sixteenth notes/semi quavers, eighth notes/quavers, quarter notes/crotchets, dotted quarter notes/crotchets, half notes/minims.
-
Recognize macrobeat
- recognize quadruple meter
- recognize duple meter
- recognize triple meter
-
Triads
- Chord Comparison Level 1
- Chord Comparison Level 2
- Chord Comparison Level 3
- Chord Recognition Level 1
- Chord Recognition Level 2
- Chord Recognition Level 3
-
Performance Skills
-
Scales
- Fluently play all Major Ascending Scale Bursts
- Fluently play all Major 5-note Scale Bursts
- Play/Sing Concert A Major scale and three forms of f# minor
- Play/Sing Concert Ab Major scale and three forms of f minor
- Play/Sing Concert B Major scale and three forms of g# minor
- Play/Sing Concert Bb Major scale and three forms of g minor
- Play/Sing Concert C Major scale and three forms of a minor
- Play/Sing Concert D Major scale and three forms of b minor
- Play/Sing Concert Db Major scale and three forms of b Flat minor
- Play/Sing Concert E Major scale and three forms of c# minor
- Play/Sing Concert Eb Major scale and three forms of c minor
- Play/Sing Concert F Major scale and three forms of d minor
- Play/Sing Concert G Major scale and three forms of e minor
- Play/Sing Concert Gb Major scale and three forms of e Flat minor
- Play all ascending Major and Perfect
- Play minor and diminsished intervals ascending
- All ascending (Maj, min, Aug, dim)
- All Major and minor descending intervals
- Assessing Performances