SONATA FOR ALTO SAXOPHONE AND PIANO, OP. 19 PAUL CRESTON All rights reserved, Thomas Liley
|
|
- Everett Miles
- 6 years ago
- Views:
Transcription
1 A TEACHER S GUIDE TO THE INTERPREATION OF SELECTED MUSIC FOR SAXOPHONE By Thomas Liley SONATA FOR ALTO SAXOPHONE AND PIANO, OP. 19 PAUL CRESTON All rights reserved, Thomas Liley Biography Paul Creston (né Giuseppe Guttoveggio) was born in New York City on October 10, 1906, of Italian immigrants. Entirely self-taught in composition, he did not decide upon a career in composition until An excellent pianist, he was also organist at St. Malachy's Church in New York from 1934 until Creston's keyboard performances displayed "not only enormous technical facility but also incredible accuracy plus the ability to sightread almost anything at all." 1 His marriage in 1927 to Louise Gotto, who later became a pioneer Martha Graham dancer, is perhaps an important element in Creston's great interest in rhythm. That same year he legally changed his name, using the nickname "Cris" as the basis for Creston. The composer of numerous works, including six symphonies, Creston was awarded a Guggenheim Fellowship in 1938 and the New York Music Critics' Circle Award in 1941; "from that time he was among the most widely performed American composers. 2 He was a member of the faculties of Swarthmore College and the New York College of Music, was president of the National Association of American Composers and Conductors from 1956 to 1960, a director of the American society of Composers, Authors, and Publishers from 1960 to 1968, and composer-in-residence at Central Washington State College from 1968 to Creston died in San Diego on August 24, Rhythm is the principal characteristic of Creston's compositional style. "He usually uses several rhythms together, and it is in the different relationships between them that unobtrusive but definite shifts of tiny accents give constant rhythmic change. 3 Other notable characteristics of his music are full harmonies, florid melodies, and formal clarity. 4 It has been noted that Creston's earlier works do not contain standard Italian musical terms, but substitute English equivalents. This has led to some confusion about Creston's intentions. For example, does "increase gradually and regain original pace" (m. 79 of the first movement of the Sonata) mean increase loudness gradually and resume the original tempo immediately? It has also led to the supposition that Creston sought at that time to suppress his Italian background, a heritage which he was later to acknowledge. His saxophone works, which extend from 1935 to 1978, give evidence of a change from complete absence of Italian terms in the earlier works to full employment of them in latter compositions. By 1948, Creston, in a letter to Henry Cowell, would say: 1 Cecil Leeson, "Remembering Paul Creston," Saxophone Journal vol. 11, no. 2 (Summer 1986); p New Grove, p Henry Cowell, "Paul Creston," Musical Quarterly 34 (1948): p New Grove, p
2 I make no especial effort to be American: I conscientiously work to be my true self, which is Italian by parentage, American by birth, and cosmopolitan by choice. 5 Creston wrote five compositions for saxophone: Suite for Saxophone and Piano, op. 6 (Delaware Water Gap, PA: Templeton, 1935); Sonata for Alto Saxophone and Piano, op. 19 (Delaware Water Gap, PA: Templeton, 1939); Concerto for Alto Saxophone and Orchestra, op. 26 (New York: G. Schirmer, 1941); Rapsodie for Alto Saxophone and Organ, op. 108 (Delaware Water Gap, PA: Shawnee, 1976); and Suite for Saxophone Quartet (Delaware water Gap, PA: Shawnee, 1978). The Suite, op. 6, like the Sonata, was written for Cecil Leeson, who gave the premiere performance with Creston in New York City on April 12, It is in three movements: Scherzoso, Pastorale, and Toccata. Although the Concerto was also written for Leeson, the first performance on January 27, 1944, was by Vincent Abato and the New York Philharmonic, William Steinberg conducting. Also available in a version with band by the composer, the Concerto consists of three movements, marked Energetic, Meditative (containing a lengthy cadenza), and Rhythmic. Creston's next work for saxophone was written in 1976, after an interval of thirty-five years, for French saxophonist Jean-Marie Londiex. The Rapsodie, originally with organ, is also available with accompaniment by piano, orchestra, or band. Londiex gave the first performance on July 29, 1976, at the Fifth World Saxophone Congress in London. Other than in his works for band, the Suite of 1978 is Creston's only use of the saxophone in ensemble. It is in four movements and was given its first performance on June 30, 1979, by the Quatuor de saxophones suisse at the Sixth World Saxophone Congress in Evanston, Illinois. Compositional Background Creston's Sonata is the result of his frequent collaboration as pianist with saxophonist Cecil Leeson, including tours, recordings, and a Town Hall recital. According to Leeson, the composition of the Sonata was considered a commission by both artists, even though no money was involved. 6 The first performance was given by Leeson and pianist Josef Wagner at Heidelberg College in Tiffin, Ohio, on January 9, 1940, as part of a tour. Leeson and Wagner performed the work another seven times before their return to New York. Creston considered the first New York performance to be its 5 Cowell, p Leeson, p
3 world premiêre, occurring on February 15, 1940, in the Carnegie Chamber Music Hall. The Sonata was presented by Leeson and the composer in what was their last public performance together. 7 The Sonata has become one of the best-known compositions in the saxophone repertoire. It has appeared on countless recitals, has been recorded several times, and has been cited by Marcel Mule as one of the definitive works for saxophone and piano. 8 Analysis The three movements of op. 19 correspond to a typical plan of sonata-allegro, ternary, and rondo with certain modifications of each: the first movement does not include the second theme in the recapitulation; the contrasting middle portion of the second movement does not present new melodic material; and the seven-part rondo (A-B-A-C-A-D-A) third movement presents three rather than the usual two contrasting sections. Creston has unified the sonata through key relationships. The first movement ends in the key of E major to create a fifth relationship with the second movement in the key of A major, which is itself in a fifth relationship with the third movement's tonality of D major. The Sonata is characterized by the full texture of the piano part. Typically, intervals of a tenth in the left hand are filled in while voices are further doubled in the right hand. The use of octaves in the piano may be used to signal a new formal area, such as the B section of the second movement (mm ). A rapid harmonic rhythm that often changes with every eighth-note contributes to the fullness of texture. Sonorities are often some type of seventh chord, occasionally with a ninth; minor sevenths are common in the first movement and major sevenths are more prevalent in the second and third movements. First Movement The opening movement, marked "With vigor [MM=126], begins immediately with Theme I, which may be read as E major with considerable use of the raised fourth scale degree, which could be considered as E Lydian. 7 Leeson, p Eugene Rousseau, Marcel Mule: His Life and the Saxophone (Shell Lake, WI: Etoile, 1982): p
4 The harmony is non-functional, with root motion by seconds and thirds. The first theme area is divided into two four-measure phrases. The rhythm (m. 5) is expanded to (m. 7) for later exploitation in the development. A transitional passage (m. 9) is imitative, first at the space of a measure, then of a half-measure. The second theme area (m. 13) provides a more definite sense of the tonic key of E major. In this three-part section, the two outer parts are similar. They are united by an undulating sixteenthnote pattern in the piano, which takes on added significance as the exposition's closing theme (m. 29). Theme I material is the first to receive attention in the development (m. 36), especially the rhythmic figure noted in mm Theme II, this time in the piano alone, is again used to establish the tonality, in this instance D-flat major (m. 56). It occurs in a lower register than in the exposition, and the accompanying sixteenth-note pattern is again prominent. The saxophone entrance at m. 65 is also in a lower register than the previous material. The central tonality of E major is re-established at this point and the accompanying sixteenth-note pattern becomes a sort of fore-imitation between the two instruments. Rhythmic activity in the saxophone part gradually increases throughout the section from eighth-notes (m. 65) to triplets (m. 72) to sixteenth-notes (m. 78). The inverted mordents (mm.78-80) may be in anticipation of the principal theme of the third movement. Material from the closing theme 4
5 and from Theme I is recalled (mm ). The measures which follow (rom ) again focus on the dotted rhythm first presented in m. 7 of the exposition. The beginning of the recapitulation is obscured and occurs at approximately m. 95. A change in dynamics and in texture mark the coda (m. 107) which begins with material first heard in m. 46. Material from the transition (mm. 9-12) is combined with the dotted rhythm of the first theme area until m The piano cascades downward through a D-sharp major/minor seventh and a G-sharp scale before the saxophone s final figure which seems to combine elements of both Theme I and Theme II. Second movement Marked to be played "With tranquility [MM=66]," the middle movement opens in A major. The first seven measures serve as an introduction as the piano presents the melody above a descending series of second inversion major chords. The opening melodic gesture of is the same used by the saxophone to conclude the preceding movement. A distinctive feature of Creston s personal tonal language may be heard at each cadence point where the melody forms the interval of a major seventh with the root of the chord. The phrase is seven measures in length and is in 5/4 meter. The saxophone entrance in m. 8 presents the same melody heard in the piano, which now has a thicker texture and contains several imitative gestures (mm. 10, 11, 13) to fill cadences. Material diverges melodically in m. 10 and harmonically in m. 11 as an approach is made very briefly to the key area of F- sharp major. The melody is begun again by the saxophone (m. 15). but in D major. Melodic activity increases to triplet motion, which creates rhythmic tension against the nearly continuous flow of sixteenth-notes in the piano while increasing in volume and tempo. The contrasting section marked to be played "a little broad" (m. 27) retains the original melodic material but in the key of E major, the dominant of A. An indication to retard the tempo articulates this section. Saxophone and piano exchange material in mm M. 31 may be heard as an intensification of the rhythm of m. 1. Dominant-tonic relationships within a movement are infrequent in this sonata; this makes the harmonic motion to the third section (mm ) all the more satisfying. Although the concluding A section begins in C major, the return of thematic material, dynamics, and texture is convincing. Saxophone and piano again exchange material (mm ) before reaching a final cadence in A major (m. 45). The melodic theme is recalled in the piano, which descends to an A major chord while the saxophone ascends to the mediant as it did in the first movement. 5
6 Third movement This seven-part rondo, "With gaiety [MM=160]," has an A theme that is notable for its inverted mordents, running sixteenth-notes in the right hand of the accompaniment, and the 5/8 pattern in the pianist's left-hand. Creston cites the theme in his book Principles of Rhythm as an example of rhythmic overlapping, i.e., the extension of a phrase beyond the bar line, a common sixteenth century practice. Overlapping, according to Creston, is of two types: the segment of duration is obtained by multiplying the number of measures by the number of units or by multiplying the number of pulses by the number of units. "The fundamental idea of overlapping is the non-importance of the bar line as regards accentuation. 9 Mm are also cited by Creston as an example of trimetric regular subdivision overlapping. Regular subdivision overlapping is defined as the organization of a group of measures into equal beats overlapping the bar line. The difference between it and simple regular subdivision is that the beats are contained within a frame of two or 9 Paul Creston, Principles of Rhythm (Melville, NY: Belwin Mills, 1964): p
7 more measures instead of a single measure. What distinguishes it from simple overlapping is the presence of a repeated rhythmic pattern. 10 Trimetric refers to rhythms contained within three measures. The piano emerges from its trimetric rhythmic pattern in the key of F-sharp major, which is the tonality for the B section (m. 45ff). Contrastingly lyrical in the saxophone, rhythmic energy is retained in the piano by the frequent use of 3/8 groupings. Root motion, which had made use of fourths and fifths (tonic, subdominant, and dominant) in the A section, is primarily by seconds in the B section and provides additional contrast. At the return of the second A section in the key of D-flat major (m. 76), material is reversed between the two instruments. A passage in 3/16 pulse returns the thematic material to the saxophone in the key of E minor (m. 95). Diminished arpeggios in the saxophone create a quick transition to the C section, a second contrasting area in the key of B major (m. 110ff). The accompaniment is in a steady 2/4 meter beneath a broadly lyrical theme. Rhythmic interest is maintained by triplets in the theme against eighth-notes in the piano. Tonally the section moves through a series of minor thirds: B major (m. 110), D major (m. 122), F major (m. 126), and A-flat major (m. 136) to outline a diminished seventh. The triadic A theme appears in augmentation (mm ) to effect a close to the section, at which point the piano resumes its rhythmic punctuations. The third A section creates a clear return to the material, this time in F-sharp major. There is an interruption by the piano (mm ) and an extension by both instruments beginning in m Once again a rhythmic change (m. 198) signals the approach of a new section. 10 Creston, p
8 The burlesque-like D section (m. 206ff) is in A major, creating a dominant relationship to the final A material in the key of D major. The basically steady rhythm functions as a strongly contrasting element despite two occurrences of four against five (m. 213) and two against three (mm ). The final A section (m. 245ff) returns to D major and is initiated by the piano, to be joined by the saxophone which later presents the A theme in different registers (mm and mm ). A short coda (m. 270ff) is marked by a rhythmic grouping of which becomes a squarely placed 2/8 pulse in m The saxophone's half note (m. 284) creates a brief suspension of pulse before the piano close which recalls the principal theme with the pitches 1, 5, and 3 and a written out inverted mordent in the final measure. Although this is the only movement in which the saxophone ends on the tonic pitch, attention is again drawn to the mediant, this time by the piano. Common Interpretative Practices Five recordings of the Creston Sonata by Vincent Abato, Marcel Mule, Harvey Pittel, Sigurd Rascher, and Donald Sinta were compared to determine if interpretative indications given by the composer in the score are generally followed and to determine if additional "nuances" have become commonly accepted. Before the comparative listening was done, the Abato recording was assumed to be of special interest because the composer presided at the piano. Other pianists in the recordings are Robin Solange with Mule, Levering Rothfuss with Pittel, Russell Sherman with Rascher, and Nelita True with Sinta. A timing of the performances disclosed that there was a difference of two minutes and thirty-six seconds between the longest and the shortest (Mule -- 11'43" and Sinta -- 14'19"). The greatest difference between timings of a single movement was one minute and twelve seconds in the second movement, again between Mule (4'13") and Sinta (5'25"). TABLE 1.1. Timings of the Saxophone Sonata by Creston Movement Abato Mule Pittel Rascher Sinta I 4'17" 3'58" 4'41" 4'27" 4'43" II 4'17" 4' 13" 4'32" 4'49" 5'25" III 3'32" 3'32" 3'46 3'44" 4'11" Total 12'06" 11'43" 12'59" 13'00" 14'19" Each movement of the Sonata contains passages in which there is no tempo change for thirty or even sixty seconds. Metronomic tempos for each of the sections were determined by counting the number of beats per minute; thirty-second passages were multiplied by two and fifteen second segments were multiplied by four to obtain the equivalent. The figures are understood to be inexact but still valuable for some purposes of comparison, particularly within an individual performance. Tempos that are roughly equivalent may be considered the same. For example, Rascher' s MM=104 for Theme II of the exposition of the first movement should be considered the same as his MM=100 for Theme II in the development of the same movement. As expected, the performance by Abato (with Creston) was in many respects the closest to the tempos indicated in the score. Their performance of the first movement is notable as the only one in which the "in time" at m. 13 is observed for the outset of the second theme; all other performances slow considerably at this point. When Theme II is presented by the piano in the development, the tempo is 8
9 always slower. Also noteworthy is Abato's and Creston's faster performance of Theme I in the recapitulation than in the exposition or the development. Recordings of the second movement produced two unexpected results. First, all performances were considerably slower than the tempo of MM=66; this was especially true of Sinta's MM=42. Second, although Creston's indication "a little broad" at m. 27 might imply a still slower tempo, all performers increased the speed. At "in time" in m. 35, there was an almost uniform return to each of the original tempos; Pittel, who played the preceding "a little broad" the fastest, gives a quicker original tempo on the return. The tempo within the third movement is generally constant for each performer. Pittel is again an exception and seems to change tempo at each new section of the rondo. TABLE 1.2. Tempos of the Saxophone Sonata by Creston Score Abato Mule Pittel Rascher Sinta First movement Exposition Theme I MM= Theme II "in time" Development Theme I Theme II "in time" Theme II "a shade slower Recapitulation Theme I Second movement MM= "a little broad" "in time" Third movement Theme A MM= Theme B Theme C Theme D The following generalizations concerning tempos may be made -- 9
10 First movement: With the exception of Abato, Theme II is played slower than Theme I in the exposition and perhaps slower yet in the development (Abato is the most obvious example of this). The indication "a shade slower" is subject to a wide variety of interpretations. Second movement: The metronome marking of MM=66 is considered by the performers to be too fast and Sinta s MM=42 is the most far removed. "A little broad" is interpreted as a quickening of the tempo. Third movement: Whatever tempo is selected, that tempo is maintained throughout the movement. There may occur some slight fluctuation faster or slower for Theme C. A common question regarding Creston s Sonata is the placement of the inverted mordents in the last movement each of the saxophonists examined began the embellishment on the beat. A less frequently asked question concerns the placement of the inverted mordents in the first movement. There was less agreement about the execution of these figures -- Mule and Sinta placed them on the beat (as in the last movement) and Abato, Pittel, and Rascher placed them before the beat; the embellishments by Rascher were heavily accented. The second movement contains indications marked "retard slightly" (m. 14) and "in time" (m. 15). In each of the five recordings the return to tempo occurs on the fourth beat of m. 14. Another common question, this time concerning where to breathe, arises in the same movement around m. 40, at which point a new phrase begins but with no clear place to take a necessary breath. Three performances (Mule, Rascher, and Sinta) break the tie to the third beat of m. 39; Pittel breathes after the third beat of m. 40 and Abato breathes after the first eighthnote of beat four of m. 40. The melodic fragment presented three times in mm invites varying interpretative responses. The passage is met in very different ways by the performers: Rascher and Sinta seem to play each of the three fragments with the same volume; Abato plays the second fragment more quietly to create an echo effect; Pittel plays each successive fragment more softly, and Mule does the same, but with a crescendo and decrescendo added to each fragment. The retard of the last measure of the movement is also interpreted in different ways: Abato only slightly slackens the pace, while Mule and Rascher effect a much broader conclusion; Pittel greatly lengthens the second eighth-note of the second beat and Sinta makes almost no retard, perhaps because of his unusually slow tempo. The concluding third movement is more straightforward. As mentioned earlier, all performances have the inverted mordents placed on the beat at the beginning of the movement. It may be noted, however, that later on (mm ), Rascher seems to place them before the beat; in mm. 266 and 267, Abato seems to omit them and Pittel interprets them as an embellishment of a minorthird rather than a major second as before. All saxophonists except Pittel breathe after m. 144 in the C section; this practice seems to be at odds with the piano at this point. The values of the sforzando eighth-notes in the D section (mm ) are generally curtailed; Pittel interprets them as being long, and Sinta's interpretation seems to be as an eighth-note in length. 10
11 Errors and Discrepancies Saxophone score The tempo, dynamic, and articulation indications listed below are found in the piano score and should be included in the saxophone score. First movement m. 64: add "retard slightly" m. 107: place "less loud" under the first sixteenth-note, not the first eighth-note m. 122: add "hold back" Second movement m. 24: add "and accelerate" m. 26: add "retard" on the last half of beat 4 m. 27: add "a little broad" m. 34: add "retard slightly" m. 35: add "in time" Third movement m. 6: continue the crescendo marking through the measure m. 63: slur each beat mm : begin a crescendo marking on beat 2 of m. 127 through m. 129 mm : begin a decrescendo marking in m. 130 through beat 1 of m. 131 m. 285: add "hold back slightly" m. 286: add "in time" Piano score First movement m. 101: in the first chord of the right hand the lowest note is G-sharp Third movement m. 273: add an accent to the first sixteenth-note of beat 2 in the right hand Fingerings and Suggestions First movement Tempo of MM=126 maximum m. 1: place the agogic accent on beat 1, not beat 2 m. 5: use "5" fingering for the first two A-sharps, then bis key fingering m. 11: covered D-flat fingering (octave key and ring finger of left hand, first, second, and third fingers of right hand); Side Key (SK) G-flat fingering m. 13: "in time," but slower; it is possible to omit the Left Side Key 2 (LSK 2) for F to bring the pitch down m. 15: it is possible to add for E-flat to bring the pitch down m. 16: SK G-flat fingering 11
12 mm. 18 and 20: covered D-flat fingering m. 70: play both C-sharps at the same volume m. 75: beat 3 is subito piano m. 86: "in time," but not yet "a tempo" m. 103: front F fingering; G may be played m. 107: "less loud" after the first eighth-note m. 121: wait for beat 3 Second movement Tempo of MM=60 m. 11: subito piano on last half of beat 4 m. 14: do not overdo "retard slightly" m. 15: retain the "piano" dynamic indication m. 31: wait for the piano left hand octaves in order to come in with the piano right hand chord mm : almost cadenza-like mm : play as an echo to mm and mm m. 45: cadence on the downbeat, letting the final two measures evaporate Third movement mm. 1-3: place the inverted mordents on the beat here and in all other similar measures mm. 7-13: each repeated pattern is insistently louder, leading to m. 14; the same is suggested for mm , leading to m. 33, and for mm , leading to m. 194 m. 20: "5" A-sharp fingering mm : Side Key (SK) F-sharp fingerings m. 37: Right Side Key 1 (RSK 1) B-flat fingering m. 56: "5" A-sharp fingering mm : SK G-flat fingerings m. 76: play the "mezzopiano" dynamic indication softly in order to stay under the piano's melody mm : "5" A-sharp fingerings mm : continue to "increase" m. 170: continue the "pianissimo" dynamic indication mm : give full value to the eighth-notes followed by rests mm. 212, 228, 232: observe the cadences mm. 228 and 232: D may be fingered m. 237: the second D-sharp may be fingered with the RSK 3 alone m. 286: play the dotted eighth-note the same value as the piano's three sixteenth-notes 12
13 APPENDIX OF SUGGESTED FINGERINGS 23
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
More informationST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20
ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music [Speak] to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to
More informationBeethoven: Pathétique Sonata
Beethoven: Pathétique Sonata Key words 1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture At the top of your Beethoven Score write each
More informationCONCERTINO DA CAMERA FOR ALTO SAXOPHONE AND ELEVEN INSTRUMENTS JACQUES IBERT All rights reserved, Thomas Liley
A TEACHER S GUIDE TO THE INTERPRETATION OF SELECTED MUSIC FOR SAXOPHONE By Thomas Liley CONCERTINO DA CAMERA FOR ALTO SAXOPHONE AND ELEVEN INSTRUMENTS JACQUES IBERT All rights reserved, Thomas Liley Biography
More informationRobert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1)
Cleveland State University From the SelectedWorks of Dan Rager 2016 Robert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1) Dan Rager Available at: https://works.bepress.com/daniel_rager/35/ Composition
More informationLISTENING GUIDE. p) serve to increase the intensity and drive. The overall effect is one of great power and compression.
LISTENING GUIDE LUDWIG VAN BEETHOVEN (1770 1827) Symphony No. 5 in C Minor Date of composition: 1807 8 Orchestration: two flutes, two oboes, two clarinets, two horns, two trumpets, timpani, strings Duration:
More informationADVANCED STUDY GUIDE
Be Able to Hear and Sing DO RE DO MI DO FA DO SOL DO LA DO TI DO DO RE DO MI DO FA DO SOL DO LA DO TI DO DO DO MI FA MI SOL DO TI, DO LA, DO SOL, FA MI SOL MI TI, DO LA, DO SOL, DO Pitch SOLFEGE: do re
More informationStudent Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationLESSON 1 PITCH NOTATION AND INTERVALS
FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative
More informationWSMTA Music Literacy Program Curriculum Guide modified for STRINGS
WSMTA Music Literacy Program Curriculum Guide modified for STRINGS Level One - Clap or tap a rhythm pattern, counting aloud, with a metronome tempo of 72 for the quarter beat - The student may use any
More informationInstrumental Performance Band 7. Fine Arts Curriculum Framework
Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1
More information17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
More informationLESSON PLAN GUIDELINE Customization Statement
Hegarty Piano Studio 2011-2012 School Year LESSON PLAN GUIDELINE Customization Statement Every student is different. And every student s commitment to piano lessons is different. Therefore, the attached
More informationStudent Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationMusic theory B-examination 1
Music theory B-examination 1 1. Metre, rhythm 1.1. Accents in the bar 1.2. Syncopation 1.3. Triplet 1.4. Swing 2. Pitch (scales) 2.1. Building/recognizing a major scale on a different tonic (starting note)
More information3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
More informationLESSON ONE. New Terms. a key change within a composition. Key Signature Review
LESSON ONE New Terms deceptive cadence meno piu modulation V vi (VI), or V7 vi (VI) less more a key change within a composition Key Signature Review 1. Study the order of sharps and flats as they are written
More informationMUSIC PROGRESSIONS. Curriculum Guide
MUSIC PROGRESSIONS A Comprehensive Musicianship Program Curriculum Guide Fifth edition 2006 2009 Corrections Kansas Music Teachers Association Kansas Music Teachers Association s MUSIC PROGRESSIONS A Comprehensive
More informationAssessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420)
NCEA Level 3 Making Music (91420) 2013 page 1 of 6 Assessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420) Evidence Statement ONE (a) (i) (iii) Shenandoah Identifies
More informationINTERMEDIATE STUDY GUIDE
Be Able to Hear and Sing DO RE DO MI DO FA DO SOL DO LA DO TI DO DO RE DO MI DO FA DO SOL DO LA DO TI DO DO DO MI FA MI SOL DO TI, DO SOL, FA MI SOL MI TI, DO SOL, DO Pitch SOLFEGE: do re mi fa sol la
More informationIntermediate Piano Syllabus and Course Outline
Intermediate Piano Syllabus and Course Outline Instructor: David Joseph Email: djoseph@ggusd.us Phone #: 714 767 4516 Room: 403 Period: 0 Textbook: Palmer, Manus, and Amanda Vick Lethco. Adult All In One
More informationASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing:
! ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing: Ascending DO-RE DO-MI DO-SOL MI-SOL DO-FA DO-LA RE - FA DO-TI DO-DO LA, - DO SOL. - DO Descending RE-DO MI-DO
More informationAlleghany County Schools Curriculum Guide
Alleghany County Schools Curriculum Guide Grade/Course: Piano Class, 9-12 Grading Period: 1 st six Weeks Time Fra me 1 st six weeks Unit/SOLs of the elements of the grand staff by identifying the elements
More informationGRATTON, Hector CHANSON ECOSSAISE. Instrumentation: Violin, piano. Duration: 2'30" Publisher: Berandol Music. Level: Difficult
GRATTON, Hector CHANSON ECOSSAISE Instrumentation: Violin, piano Duration: 2'30" Publisher: Berandol Music Level: Difficult Musical Characteristics: This piece features a lyrical melodic line. The feeling
More informationMarion BANDS STUDENT RESOURCE BOOK
Marion BANDS STUDENT RESOURCE BOOK TABLE OF CONTENTS Staff and Clef Pg. 1 Note Placement on the Staff Pg. 2 Note Relationships Pg. 3 Time Signatures Pg. 3 Ties and Slurs Pg. 4 Dotted Notes Pg. 5 Counting
More informationAdditional Theory Resources
UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Open Position/Keyboard Style - Level 6 Names of Scale Degrees - Level 6 Modes and Other Scales - Level 7-10 Figured Bass - Level 7 Chord Symbol
More informationAn Interpretive Analysis Of Mozart's Sonata #6
Back to Articles Clavier, December 1995 An Interpretive Analysis Of Mozart's Sonata #6 By DONALD ALFANO Mozart composed his first six piano sonatas, K. 279-284, between 1774 and 1775 for a concert tour.
More informationATSSB Bb clarinet (revised February 2016) Artistic Studies Book I from the French School David Hite/Southern Music
ATSSB Bb clarinet (revised February 2016) Artistic Studies Book I from the French School David Hite/Southern Music Year A Page 26, No. 24 A minor Quarter note = 54 60 Play from the beginning through measure
More informationMusic Curriculum Glossary
Acappella AB form ABA form Accent Accompaniment Analyze Arrangement Articulation Band Bass clef Beat Body percussion Bordun (drone) Brass family Canon Chant Chart Chord Chord progression Coda Color parts
More informationStudent Performance Q&A:
Student Performance Q&A: 2008 AP Music Theory Free-Response Questions The following comments on the 2008 free-response questions for AP Music Theory were written by the Chief Reader, Ken Stephenson of
More informationVivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising)
Vivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising) Background information and performance circumstances Antonio Vivaldi (1678 1741) was a leading Italian composer of the Baroque period.
More informationStudy Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
More informationBefore I proceed with the specifics of each etude, I would like to give you some general suggestions to help prepare you for your audition.
TMEA ALL-STATE TRYOUT MUSIC BE SURE TO BRING THE FOLLOWING: 1. Copies of music with numbered measures 2. Copy of written out master class 1. Hello, My name is Dr. David Shea, professor of clarinet at Texas
More informationStudent Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
More informationKing Edward VI College, Stourbridge Starting Points in Composition and Analysis
King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:
More informationMUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
More informationTrumpets. Clarinets Bassoons
LISTENING GUIDE RTÓK (1943) One of artók s last works, the was premiered by the oston Symphony Orchestra at Symphony Hall on December 1, 1944. The score was a commission from Serge Koussevitsky, the orchestra
More informationM T USIC EACHERS.CO.UK. An analysis of Mozart s piano concerto K488, 1 s t movement. the internet service for practical musicians.
M T USIC EACHERS.CO.UK the internet service for practical musicians. S o n a t a f o r m i n t h e c l a s s i c a l c o n c e r t o : An analysis of Mozart s piano concerto K488, 1 s t movement G a v
More informationMMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B).
MMTA Exam Requirements Level 3 and Below b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). c. Staff and grand staff stem placement. d. Accidentals: e. Intervals: 2 nd
More informationMELODIC NOTATION UNIT TWO
MELODIC NOTATION UNIT TWO This is the equivalence between Latin and English notation: Music is written in a graph of five lines and four spaces called a staff: 2 Notes that extend above or below the staff
More informationGreeley-Evans School District 6 High School (Year 3 & 4) Symphony Orchestra Curriculum Guide Unit: Intonation, balance, blend
Unit: Intonation, balance, blend Enduring Concept: Expression of Music Grade Level Expectations (GLE): Perform music accurately and expressively Why is it important to hear balance between other parts
More informationLESSON ONE. New Terms. sopra above
LESSON ONE sempre senza NewTerms always without sopra above Scales 1. Write each scale using whole notes. Hint: Remember that half steps are located between scale degrees 3 4 and 7 8. Gb Major Cb Major
More informationChapter 13. The Symphony
Chapter 13 The Symphony!1 Key Terms symphony sonata form exposition first theme bridge second group second theme cadence theme development retransition recapitulation coda fragmentation theme
More informationBIBLIOGRAPHY APPENDIX...
Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Pitch and rhythm... 1 CHAPTER 2... 10 Time signatures and grouping... 10 CHAPTER 3... 22 Keys... 22 CHAPTER... 31 Scales... 31 CHAPTER 5...
More informationAN ANALYSIS OF PIANO VARIATIONS
AN ANALYSIS OF PIANO VARIATIONS Composed by Richard Anatone A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY RICHARD ANATONE
More informationSymphony No. 4, I. Analysis. Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some
Karolyn Byers Mr. Darcy The Music of Mahler 15 May 2013 Symphony No. 4, I. Analysis Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some deformations. The exposition
More informationHaydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
More informationPiano Teacher Program
Piano Teacher Program Associate Teacher Diploma - B.C.M.A. The Associate Teacher Diploma is open to candidates who have attained the age of 17 by the date of their final part of their B.C.M.A. examination.
More informationTonal Polarity: Tonal Harmonies in Twelve-Tone Music. Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone
Davis 1 Michael Davis Prof. Bard-Schwarz 26 June 2018 MUTH 5370 Tonal Polarity: Tonal Harmonies in Twelve-Tone Music Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone
More informationHS Music Theory Music
Course theory is the field of study that deals with how music works. It examines the language and notation of music. It identifies patterns that govern composers' techniques. theory analyzes the elements
More informationCadet Music Theory Workbook. Level One
Name: Unit: Cadet Music Theory Workbook Level One Level One Dotted Notes and Rests 1. In Level Basic you studied the values of notes and rests. 2. There exists another sign of value. It is the dot placed
More informationCOMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT
COMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
More informationLesson Two...6 Eighth notes, beam, flag, add notes F# an E, questions and answer phrases
Table of Contents Introduction Lesson One...1 Time and key signatures, staff, measures, bar lines, metrical rhythm, 4/4 meter, quarter, half and whole notes, musical alphabet, sharps, flats, and naturals,
More informationSyllabus List. Beaming. Cadences. Chords. Report selections. ( Syllabus: AP* Music Theory ) Acoustic Grand Piano. Acoustic Snare. Metronome beat sound
Report selections Syllabus List Syllabus: AP* Music Theory SYLLABUS AP* Music Theory AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse,
More informationMusic Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
More informationSTRAND I Sing alone and with others
STRAND I Sing alone and with others Preschool (Three and Four Year-Olds) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The
More informationPoway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12
Poway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12 The mission of the Poway Unified School District Instrumental Music Program is to provide a quality music education
More informationAll rights reserved. Ensemble suggestion: All parts may be performed by soprano recorder if desired.
10 Ensemble suggestion: All parts may be performed by soprano recorder if desired. Performance note: the small note in the Tenor Recorder part that is played just before the beat or, if desired, on the
More informationCourse Outcome Summary
Course Information: Music 5 Description: Instruction Level: Grade 5 Course Students in this course perform varied repertoire using proper singing, recorder and accompanying technique, and understanding
More informationPRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2)
PRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The other is the emotional
More informationTMEA ALL-STATE AUDITION SELECTIONS
TMEA ALL-STATE AUDITION SELECTIONS 2014-2015 Hello, my name is Amy Anderson, Oboe Professor at Texas Tech University. I have recorded the 2014-2015 All-State Audition music for oboe including Masterclasses
More informationWCBPA-Washington Classroom-Based Performance Assessment A Component of the Washington State Assessment System The Arts
WCBPA-Washington Classroom-Based Performance Assessment A Component of the Washington State Assessment System The Arts Grade 10 Music Melody of Your Dreams Revised 2008 Student Name _ Student Score (Circle
More informationMMSD 5 th Grade Level Instrumental Music Orchestra Standards and Grading
MMSD 5 th Grade Level Instrumental Music Orchestra Standards and Grading The Madison Metropolitan School District does not discriminate in its education programs, related activities (including School-Community
More informationOGEHR Festival 2019 Peace by Piece. Rehearsal Notes: Copper A Repertoire
OGEHR Festival 2019 Peace by Piece Rehearsal Notes: Copper A Repertoire Peace in our Time In looking through this piece I couldn t help but notice that the LV markings are a little bit confusing. Please
More informationLesson 9: Scales. 1. How will reading and notating music aid in the learning of a piece? 2. Why is it important to learn how to read music?
Plans for Terrance Green for the week of 8/23/2010 (Page 1) 3: Melody Standard M8GM.3, M8GM.4, M8GM.5, M8GM.6 a. Apply standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, and expression.
More informationChoir Scope and Sequence Grade 6-12
The Scope and Sequence document represents an articulation of what students should know and be able to do. The document supports teachers in knowing how to help students achieve the goals of the standards
More informationGrade Level 5-12 Subject Area: Vocal and Instrumental Music
1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short
More informationStudent Performance Q&A:
Student Performance Q&A: 2002 AP Music Theory Free-Response Questions The following comments are provided by the Chief Reader about the 2002 free-response questions for AP Music Theory. They are intended
More informationMusic Theory. Level 3. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 3 Student s Name: Class: American Language Version Printable Music Theory Books Level Three Published by The Fun Music Company
More informationBrahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding)
Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Johannes Brahms was born in Hamburg, Germany
More information2014A Cappella Harmonv Academv Handout #2 Page 1. Sweet Adelines International Balance & Blend Joan Boutilier
2014A Cappella Harmonv Academv Page 1 The Role of Balance within the Judging Categories Music: Part balance to enable delivery of complete, clear, balanced chords Balance in tempo choice and variation
More informationChapter 13. Key Terms. The Symphony. II Slow Movement. I Opening Movement. Movements of the Symphony. The Symphony
Chapter 13 Key Terms The Symphony Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation Coda Fragmentation Retransition Theme and variations
More informationMusic 231 Motive Development Techniques, part 1
Music 231 Motive Development Techniques, part 1 Fourteen motive development techniques: New Material Part 1 (this document) * repetition * sequence * interval change * rhythm change * fragmentation * extension
More informationTHE ANGLO-AMERICAN SCHOOL OF MOSCOW. K-12 Music
THE ANGLO-AMERICAN SCHOOL OF MOSCOW K-12 Music The music education program at the Anglo-American School of Moscow enables all students to artistically express themselves in a variety of ways. Children
More informationOak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA
Oak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA Oak Bay Band MUSIC THEORY PROGRAM - LEVEL IA The Level IA Program is intended for students in Band 9. The program focuses on very simple skills of reading,
More informationRhythmic Dissonance: Introduction
The Concept Rhythmic Dissonance: Introduction One of the more difficult things for a singer to do is to maintain dissonance when singing. Because the ear is searching for consonance, singing a B natural
More informationHS/XII/A. Sc. Com.V/Mu/18 MUSIC
Total No. of Printed Pages 9 HS/XII/A. Sc. Com.V/Mu/18 2 0 1 8 MUSIC ( Western ) Full Marks : 70 Time : 3 hours The figures in the margin indicate full marks for the questions General Instructions : Write
More informationInformation Sheets for Proficiency Levels One through Five NAME: Information Sheets for Written Proficiency Levels One through Five
NAME: Information Sheets for Written Proficiency You will find the answers to any questions asked in the Proficiency Levels I- V included somewhere in these pages. Should you need further help, see your
More informationOrchestration notes on Assignment 2 (woodwinds)
Orchestration notes on Assignment 2 (woodwinds) Introductory remarks All seven students submitted this assignment on time. Grades ranged from 91% to 100%, and the average grade was an unusually high 96%.
More informationSchool of Church Music Southwestern Baptist Theological Seminary
Audition and Placement Preparation Master of Music in Church Music Master of Divinity with Church Music Concentration Master of Arts in Christian Education with Church Music Minor School of Church Music
More informationTheory Bowl. Round 3: Harmony, Voice Leading and Analysis
Theory Bowl Round 3: Harmony, Voice Leading and Analysis 1) Which of the following answers would be an example of the Mixolydian mode? 6) Which Roman numeral analysis below correctly identifies the progression
More information3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
More informationMARK SCHEME for the May/June 2011 question paper for the guidance of teachers 0410 MUSIC
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2011 question paper for the guidance of teachers
More informationTEACHER S GUIDE to Lesson Book 2 REVISED EDITION
Alfred s Basic Piano Library TEACHER S GUIDE to Lesson Book 2 REVISED EDITION PURPOSE To suggest an order of lesson activities that will result in a systematic and logical presentation of the material
More informationAP Music Theory Syllabus CHS Fine Arts Department
1 AP Music Theory Syllabus CHS Fine Arts Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Karen Moore Email Address: KarenL.Moore@ccsd.us Phone Number:
More informationLesson One. New Terms. Cambiata: a non-harmonic note reached by skip of (usually a third) and resolved by a step.
Lesson One New Terms Cambiata: a non-harmonic note reached by skip of (usually a third) and resolved by a step. Echappée: a non-harmonic note reached by step (usually up) from a chord tone, and resolved
More informationMusic Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
More informationPIANO EVALUATION (LEVEL IV) PREPARATION WORKBOOK
The Kikuchi Music Institute Library PIANO EVALUATION PREPARATION WORKBOOK (LEVEL IV) A series of fifteen progressive lessons and three practice examinations that prepare the student systematically for
More information54. The Beatles A Day in the Life (for Unit 3: Developing Musical Understanding) Background information and performance circumstances
54. The Beatles A Day in the Life (for Unit 3: Developing Musical Understanding) Background information and performance circumstances A Day in the Life is the concluding track of the Beatles 1967 album,
More informationCurriculum Guides. High School Music. Weld County School District 6 Learning Services th Avenue Greeley, CO /
2012-2013 Curriculum Guides High School Music Weld County School District 6 Learning Services 1025 9 th Avenue Greeley, CO 80631 970/348-6000 Band Greeley-Evans School District 6 High School Performance
More informationHaydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large
Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed
More informationLa Salle University MUS 150 Art of Listening Final Exam Name
La Salle University MUS 150 Art of Listening Final Exam Name I. Listening Skill For each excerpt, answer the following questions. Excerpt One: - Vivaldi "Spring" First Movement 1. Regarding the element
More informationContents FOREWORD... 5
Contents FOREWORD... 5 2 Unit 1 Lesson 1: The Staff, Notes, and Pitches... 6 Lesson 2: Treble Clef and Staff... 8 Lesson 3: Bass Clef and Staff... 10 Lesson 4: The Grand Staff and Ledger Lines (The Middle
More information15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding)
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653 1713) was one of the most
More informationContent Area Course: Band Grade Level: Eighth Instrumental Music - Band
Content Area Course: Band Grade Level: Eighth Instrumental Music - Band R14 The Seven Cs of Learning Collaboration Character Communication Citizenship Critical Thinking Creativity Curiosity Unit Titles
More informationMusic Approved: June 2008 Fillmore Central Revision: Updated:
A Curriculum Guide for Fillmore Central Public Schools Grades K-12 Music Approved: June 2008 Fillmore Central Revision: 2007 2008 Updated: Curriculum Committee: Kate Zrust Todd Cook Amy Fraser Ben Kaye-Skinner
More informationPhase I CURRICULUM MAP. Course/ Subject: ELEMENTARY GENERAL/VOCAL MUSIC Grade: 5 Teacher: ELEMENTARY VOCAL MUSIC TEACHER
Month/Unit: VOCAL TECHNIQUE Duration: year-long 9.2.5 Posture Correct sitting posture for singing Correct standing posture for singing Pitch Matching Pitch matching in a limited range within an interval
More informationMusical Architecture in Three Domains: Stretto, Suspension, and. Diminution in Sweelinck's Chromatic Fantasia
MT Graduate Workshop Peter chubert: Renaissance Instrumental Music November 7, 2014 Derek Reme Musical Architecture in Three Domains: tretto, uspension, and Diminution in weelinck's Chromatic Fantasia
More informationInstrumental Music I. Fine Arts Curriculum Framework. Revised 2008
Instrumental Music I Fine Arts Curriculum Framework Revised 2008 Course Title: Instrumental Music I Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Instrumental Music I Instrumental
More informationChapter 3 ORIENTALISM AS REPRESENTED IN THE SELECTED PIANO WORKS OF CAMILLE SAINT-SAËNS
Chapter 3 ORIENTALISM AS REPRESENTED IN THE SELECTED PIANO WORKS OF CAMILLE SAINT-SAËNS In today s American society, it is less conventional to connect the term Orientalism with regions such as North Africa
More information