Franz Joseph Haydn. Melody is the main thing; harmony is useful only to charm the ear.

Transcription

1

2 Franz Joseph Haydn Frahntz Yoh -zef Hide -n born March, 7, Rohrau, Austria died May, 809, Vienna, Austria worship services. The prince also had an excellent orchestra which regularly performed Haydn s compositions. Living in the palace, Haydn was cut off from the musical centers of Europe and, except for a few brief trips to Vienna, Austria, was not exposed to the music of other composers. He therefore developed his own style of music. He was not influenced by other composers with the exception of Wolfgang Amadeus Mozart, who Haydn met in 78. When they met, Haydn was forty-nine and Mozart was twentyfive. Nevertheless, the older Haydn was influenced by the younger Mozart. In 79, after the death of Prince Esterhazy, Haydn traveled to London where he was highly regarded by British royalty. Here he heard the music of George Frideric Handel and was much impressed with Handel s oratorios. In 79 he returned permanently to Austria and settled in Vienna where he wrote the Emperor s Hymn, which is now the national anthem of Austria. Inspired by Handel, Haydn also wrote several successful oratorios. By his mid-60s, Haydn s health was failing. For the last ten years of his life he wrote little, although he frequently attended concert performances of his music. A Composer of the Classical Era Franz Joseph Haydn was the second of twelve children. His family was quite poor. When Franz was six, his parents sent him to live with a family relative, Johann Frankh, in Hainburg, Austria. Mr. Frankh was a private music teacher and gave Franz lessons on the harpsichord, violin, and in music harmony and theory. In Hainburg, young Franz sang in a church boychoir and eventually became the chief soloist for the group. When Franz turned seventeen and became too old for the boychoir, he made a living playing harpsichord and violin. He also began composing and completed his first mass at age nineteen, his first string quartet at twenty-three, and his first symphony at twenty-seven. He married his wife, Anna, in 760. They separated a few years later but Haydn continued to support Anna for the rest of her life. In 76 (age twenty-nine), he became the assistant choirmaster to Prince Paul Esterhazy, an Austrian prince who was a great admirer of music. Haydn eventually became a full-time court musician and lived and worked in the Esterhazy palace for twenty-nine years, until the prince s death in 790. His daily routine required him to provide music for family concerts, private performances, and Franz Joseph Haydn was a personable man, generous and honorable. He was greatly respected by royalty throughout Europe. He wrote a large number of works and was very industrious as a composer. He was fortunate to have a patron, Prince Esterhazy, who gave him the freedom to write music for a variety of occasions. However, it was not until Haydn was over forty that his music was successful in concert halls outside the Esterhazy palace. Famous Works: Symphony in G Maor (Surprise Symphony) for orchestra The Creation an oratorio for chorus and orchestra Mass in Time of War an oratorio for chorus and orchestra His fifteen operas (five others have been lost) His fifty-two sonatas for piano Melody is the main thing; harmony is useful only to charm the ear. Franz Joseph Haydn The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

3 9 Classical Era (70 8) The term classical is used in different ways. When some people refer to classical music, they mean serious music, as opposed to popular or folk music. But when musicians use the term classical music, they mean music written between 70 and 8. The music of this era can best be described as elegant, formal, and restrained. For the first time, instrumental music was more important than vocal music. In fact, the most important new musical form of the Classical era was the symphony, an extended work in several movements (often four) for orchestra. The symphony grew out of the sonata, a popular form of the Baroque era. A sonata is a work for solo instrument, either alone or accompanied. In a symphony, there is no solo instrument, and the orchestra becomes the instrument for the composer. So a symphony could be described as a sonata for orchestra. Another Classical era form which evolved from the sonata is the concerto. A concerto is a sonata for a solo instrument, accompanied by an orchestra. The Classical era orchestra was very similar to today s orchestra, though smaller in size. The instruments were basically the same as those in a modern orchestra. The string instruments were identical to today s violins, violas, cellos, and string basses. The string section was the most important part of the Classical era orchestra. Woodwind and brass instruments had also evolved and were similar to today s flutes, oboes, clarinets, horns, trumpets, and trombones. Percussion instruments included drums, cymbals, and timpani. The organ was still an important instrument. But the piano replaced the harpsichord as the most popular keyboard instrument. The piano could play louder than a harpsichord and thus could produce sounds from very loud to very soft. Musicians call this a wide dynamic range. The piano s wide dynamic range made it appealing to Classical era composers. In the Baroque era, musical works had contrasting sections, such as fast-slow-fast, or loud-soft-loud. There were no changes in tempo or loudness (what musicians call the dynamic level) within a section. It was fast, or loud, the whole way through. In the Classical era, composers began to change the tempo or the dynamic level within a section. The changes could be gradual or sudden. A movement could begin slowly and gradually increase in tempo. Or a soft section might suddenly become loud. The vocal forms of the Baroque era, such as operas, oratorios, and cantatas remained popular with Classical era composers. Many composers of the Classical era were employed or supported by European royalty or aristocrats. This type of employment is called patronage. The aristocrat was a patron of the composer. He commissioned compositions from the composer and paid him for his musical creations. This gave the composer a continuing source of income, an outlet for his music, and the freedom to develop his craft. Composers of the Classical era could best be described as fine musical craftsmen. Many composers traveled throughout Europe to perform their music and to hear the music of other composers. This resulted in a single style for music of the Classical era a style that is elegant and formal, and which sounded the same in Rome, Italy, as it did in Vienna, Austria. Some Composers of the Classical Era Christoph Gluck (7 787) Franz Joseph Haydn (7 809) Johann Christian Bach (7 78) Wolfgang Amadeus Mozart (76 79) Ludwig van Beethoven (770 87) Carl Maria von Weber (786 86) Gioacchino Rossini (79 868) Franz Schubert (797 88) The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

4

5 THE BASICS 9 Quiz Name: Class: Identifying Notes and Rests Circle all the whole. notes in the example to the right. & w w Circle all the half. notes in the example to the right. & w Circle all the quarter. notes in the example to the right.? Œ Œ Circle all the eighth. notes in the example to the right. & J J Œ.. Œ Circle all the whole. rests in the example to the right.? Œ. Œ Circle all the half 6. rests in the example to the right. & Œ Œ Œ. J Ó Ó Circle all the quarter 7. rests in the example to the right. & Œ Œ. J Œ Œ Circle all the eighth 8. rests in the example to the right.?. Ó Œ.. Œ Copyright 007 by Alfred Publishing Co., Inc. Note: the purchase of this book carries with it the right to photocopy this page. Limited to one school only. NOT FOR RESALE.

6 THE BASICS 0 Quiz Name: Class: Notes and Rests Math DIRECTIONS: In each of the pairs of examples below, one example is correct and one is incorrect. Circle the letter of each example that is correct.. A. h + h = w or B. w + w = h. A. q + q + q = h. or B. q + q. = h. A. e + e + e = w or B. e + e + e + e = h. A. h + h = q or B. q + q = h. A. w + h = h. or B. h. + q = w 6. A. h + q = h. or B. h + q + q = h. 7. A. e + e = q or B. q + q = e 8. A. h + h = h. or B. q + q + q = h. 9. A. h. + q = w or B. e + h + q = w 0. A. q + h + h = h. or B. q + h + q + = w. A. e + q = q. or B. w + q = h.. A. e + e + e + e = w or B. q + h + q = w Copyright 007 by Alfred Publishing Co., Inc. Note: the purchase of this book carries with it the right to photocopy this page. Limited to one school only. NOT FOR RESALE.

7

8 The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

9 The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

10

11 0 Lesson 6 The Man Who Saw an Alligator (Camp Story) Core Music Standard: MU:Pr..a LEARNING TARGET I can demonstrate how a crescendo and a decrescendo are used. RECOMMENDED GRADE Third TIME NEEDED Approximately 0 minutes RESOURCES NEEDED Dry erase board and markers Alligator Dynamics Worksheet may be found on page and on the CD Pencils Lesson Procedure. Explain to the students that you will be telling them a camp story, and they will respond with movement.. Read the story aloud, demonstrating each movement.. Explain that the musical terms for gradually getting louder and softer (like the man did when the alligator gradually opened and closed his aws) are crescendo and decrescendo. Draw the symbols on the board and label them.. Sing the song Alligator to the students. (It is sung to the tune of Frère Jacques. ) Start off softly and demonstrate a crescendo for the first four measures, pantomiming with your arms the alligator s aws opening slowly, and then decrescendo for the last four measures, pantomiming the alligator s aws closing slowly. &b p f Al - li - ga - tor, get - ting loud - er. Cre - scen - do! Cre - scen - do! &b f p Now he s get-ting soft - er, now he s get-ting soft - er. De - cre - scen - do. De - cre - scen - do.. Pass out the Alligator Dynamics Worksheets and pencils. Allow time for students to complete the worksheets. 6. As a final review, sing Alligator as a class with crescendo and decrescendo arm movements.

12 Lesson 6 Once upon a time, a man woke up. (Yawn and stretch.) Camp Story Text The Man Who Saw an Alligator He kissed his wife goodbye. (Loudly kiss the back of your hand.) He opened the gate. (Use exaggerated arm movement for opening a gate, and make a creaking hinge sound.) He walked on the path. (Alternately pat your knees.) He walked through the tall grass. (Rub your hands together to make grass sounds.) He walked across the wooden bridge. (Thump your chest to make footstep sounds.) He walked to the top of the hill. (Pat your knees and gradually slow down.) He looked over his shoulder and could see his wife in the distance, standing at the window of their house. (Turn, silently wave and smile.) He walked down the other side of the hill. (Pat your knees and gradually speed up.) He swam across the lake. (Say, Splash, Slash, Splash, Splash, while pantomiming swim movements.) The man stopped when he saw an ALLIGATOR! (Put your hands on top of your head in distress.) The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

13 Lesson 6 As the alligator widened his mouth, the man yelled louder! (Slowly open and close your arms, like an alligator s aws. Repeat this several times. Demonstrate, if necessary, how the man yells more loudly as the aws open, like a crescendo, and how he yells more softly as the aws close, like a decrescendo.) He hurriedly swam back across the lake, (Say, Splash, Slash, Splash, Splash, while pantomiming quick swim movements.) Ran up the hill, (Pat your knees quickly.) Ran down the hill, (Pat your knees quickly.) Ran across the wooden bridge, (Thump your chest quickly to make running sounds.) Ran through the tall grass, (Rub your hands together quickly to make grass sounds.) And quickly opened and shut the gate. (Use exaggerated arm movement for quickly opening a gate, and make a creaking hinge sound.) He kissed his wife hello. (Loudly kiss the back of your hand.) Then he umped into bed and pulled the blankets over his head. (Pantomime pulling blankets up quickly.) The end! The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

14 Lesson 6 Alligator Dynamics Worksheet Student Name: Add a crescendo above the first four measures (to tell performers to gradually get louder) and a decrescendo above the last four measures (to tell performers to gradually get softer). Draw these symbols between the piano ( p) and forte ( f ) signs shown in Alligator. & b p Alligator f Al - li - ga - tor, get - ting loud - er. Cre - scen - do! Cre - scen - do! f & b Now p he s get-ting soft - er, now he s get-ting soft - er. De - cre - scen - do. De - cre - scen - do. Why is the crescendo sign wider (or farther apart) on the right side and the decrescendo sign wider (or farther apart) on the left side? The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

15

16 Unit Keyboard Basics Obectives Assignments Week of Write your assignments for the week in the space below. Upon completion of this unit the student will be able to:. Name, find and play all keys on the keyboard.. Improvise black-key melodies as the teacher plays an accompaniment.. Apply basic musical concepts of rhythm, notation, terminology and symbols to performance at the keyboard.. Read and perform melodies written on the grand staff.. Identify and play whole steps, half steps and the chromatic scale on the keyboard. How to Sit at the Keyboard Before you sit, adust the bench so that it is: centered in the middle of the keyboard. facing the piano squarely (not crooked). When you sit, adust the bench so that you: sit on the front half. place your knees slightly under the keyboard. place your feet flat on the floor with right foot slightly forward. As you prepare to play, adust your posture so that you: sit tall with relaxed shoulders. lean slightly forward. feel the arms hanging loosely from the shoulders. see the elbows level with or slightly higher than the keys. 8 Unit Keyboard Basics The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

17 Hand Position Curve your fingers when you play, as though you have a bubble in your hand. Curved fingers bring the thumb into the proper playing position and provide an arch that allows the thumb to pass under the fingers or the fingers to cross over the thumb. Play on the outside of the thumb and on the fingertip pads of the fingers. Finger Numbers The fingers of the left hand (LH) and the right hand (RH) are numbered as shown. The thumb is the first finger of each hand. LH RH Basic Note and Rest Values Quarter note Half note Dotted half note Whole note = count = counts = counts = counts Rests are signs for silence. Quarter rest Half rest Whole rest = count (rest for the value of ) = counts (rest for the value of ) = counts (rest for the value of or any whole measure) The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit Keyboard Basics Unit 9

18 Tap the following rhythm. Tap once for each note, counting aloud. Notice how the bar lines divide the music into measures of equal duration. BAR LINE Count: or: MEASURE BAR LINE MEASURE BAR LINE MEASURE BAR LINE Œ. w DOUBLE BAR used at the end MEASURE rest etc. Rhythm Reading Tap the following rhythms with the indicated hands and finger numbers. - Hands separately: Track number within the disk Audio or MIDI file disk number -. RH -. LH -. RH Œ Œ Œ Œ -. LH Ó Ó Ó Hands together: -. RH LH.... w w RH LH 0 Unit Keyboard Basics The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

19 The Keyboard The keyboard has white keys and black keys. The black keys are in groups of twos and threes. On the keyboard, down is to the left, and up is to the right. As you move left, the tones sound lower. As you move right, the tones sound higher. BLACKS BLACKS BLACKS BLACKS BLACKS BLACKS M I D D L E LOW SOUNDS DOWN (Lower) UP (Higher) HIGH SOUNDS Two-Black-Key Groups LH. Using LH, begin at the middle and play all the -black-key groups going down the keyboard (both keys at once). RH. Using RH, begin at the middle and play all the -black-key groups going up the keyboard (both keys at once). RH -7. With RH, begin at the middle and play all the -black-key groups going up the keyboard, using the indicated rhythm and finger numbers (one key at a time). ΠΠΠ(move) (move) (move) LH -8 Π(move). With LH, begin at the middle and play all the -black-key groups going down the keyboard, using the indicated rhythm and finger numbers (one key at a time). Π(move) Π(move) The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit Keyboard Basics Unit

20 Three-Black-Key Groups LH. Using LH, begin at the middle and play all the -black-key groups going down the keyboard (all keys at once). RH. Using RH, begin at the middle and play all the -black-key groups going up the keyboard (all keys at once).. With RH, begin at the middle and play all the -black-key groups going up the keyboard, using the indicated rhythm and finger numbers (one key at a time). -9 (move) Ó (move) RH Ó Ó (move) w. With LH, begin at the middle and play all the -black-key groups going down the keyboard, using the indicated rhythm and finger numbers (one key at a time). -0 LH Ó Ó (move) (move) Ó (move) w Unit Keyboard Basics The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

21 Black-Key Improvisation - TEACHER ACCOMPANIMENT Improvise an 8-measure melody using the given black-key position as the teacher plays each accompaniment. Listen to the -measure introduction to establish the tempo, mood and style before beginning the melody. You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment.. Begin and end your melody on the indicated key ( ): M I D D L E LH RH & b b b b b b? b b b b b b 7 & b b b b b b? b b b b b b Lively ( q = ) Introduction c F. c. J. with pedal. J... J. J... J. J Student improvisation begins:.. J w Œ.. J.. J w.. J.. J w LH RH - TEACHER ACCOMPANIMENT. Begin and end your melody on the indicated key ( ): M I D D L E &? 7 &? b b b b b b. F b b b b b b. b b b b b b b b b b b b Andante ( q = 0) Introduction.. with pedal Student improvisation begins:..... rit The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit Keyboard Basics Unit

22

23 Pa r t i a lle s s o n,uni t CI ns t r ume nt s The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit

24

25 TEACHER S ACTIVITY KIT, COMPLETE Alfred s MUSIC THEORY Essentials of 90 Reproducible Activities, Plus 8 Tests Andrew Surmani Karen Farnum Surmani Morton Manus Foreword Alfred s Essentials of Music Theory, in books and software, has quickly become one of the most widely used theory courses. In order for students to learn new concepts thoroughly, however, it is necessary to repeat and reinforce those concepts in unique ways. The reproducible pages of Activities and Tests included in Teacher s Activity Kit, Complete will help every student become more familiar with concepts introduced in Alfred s Essentials of Music Theory course. Though correlated with Alfred s Essentials of Music Theory, the materials in this kit may also be used to advantage with any theory text. Unique features of Teacher s Activity Kit, Complete: Activities There are five Activities in each of the six Units, which correlate specifically to the Units in Books,, and of Alfred s Essentials of Music Theory. The wide variety of Activities includes Scale Writing, Interval Naming, Triad Identification, and others for a total of 0 Activities in all. Tests There is one Test per Unit that covers all the theory concepts introduced in that Unit. Scorekeeping Each Activity and Test page indicates how points are to be scored so that the page may be graded. The point system to be used is determined by the type of exercises on the page. A box divided into halves will appear to the right of each exercise. If a box has only one number in the bottom half, it indicates a flat score for that exercise. If a box has two numbers in the bottom half, the first number indicates the number of points to score for each individual correct answer within the exercise. The second number indicates the total number of points that can be earned for correctly answering all the items in that exercise. The top half of the box is for you to record the number of points actually earned for the exercise. Every page has a three-part box at the bottom where the scores and total grade for that page are recorded. The total for each page is always 00. Record Keeping At the back of the Kit (page ) is a reproducible Grade Form page with a grid for listing and keeping track of the student s scores and grades, organized by Unit. Answer Key Answers for every Activity and Test page are included in a reduced size to assist in the grading process. The Teacher s Activity Kit is the perfect teacher saver for days when a substitute is required activities can be offered easily and as needed. Page Numbering Each page in Teacher s Activity Kit, Complete is labeled at the top with a Unit number, Activity number, and a correlating page reference. The Unit number tells which Unit of Alfred s Essentials of Music Theory contains the topic the Activity reinforces. The Activity number indicates the sequence of Activities within each Unit. The specific page in Alfred s Essentials of Music Theory, Book,, or with which the Activity may be assigned is given at the upper right-hand corner of each sheet. When more than one Activity correlates to the same page in the Essentials of Music Theory text book, the Activities may be assigned in any order. There is also a space at the top of each page for the student to write his or her name and class. Thanks to: Bruce Goldes, and Deanna Hudgins Alfred Publishing Co., Inc. 60 Roscoe Blvd., Suite 00 P.O. Box 000 Van Nuys, CA alfred.com Copyright MMVI by Alfred Publishing Co., Inc. All rights reserved.printed in USA. ISBN-0: ISBN-:

26 Unit ACTIVITY Name/Class Use after completing page 8. Dynamic Signs Write the Italian word and musical sign for each of the following English definitions. Italian Sign English 0 Very loud Moderately soft Soft Moderately loud Very soft Loud Arrange the dynamic signs above in order from loudest to softest. 0 Write the Italian word and musical sign for each of the following English definitions. Italian Sign English Gradually louder Gradually softer 0 Name two things that might have the dynamic marking of piano: (Example: leaves moving in a breeze) Name two things that might have the dynamic marking of forte: (Example: a roaring lion) 0 a. a. b. b. 0 6 What nationality of composers was among the first to use dynamic signs in their manuscripts? 0 The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit Copyright MMVI by Alfred Publishing Co., Inc. 7 00

27 Unit ACTIVITY Name/Class Use after completing page 9. Tempo Marks on Safari On each line, write the Italian translation of the tempo mark indicated below the line. Use the following tempo marks: Accelerando, Adagio, Allegro, Andante, Largo, Moderato, Ritardando, Vivace In deepest Africa a eep moves at a pace. Through the trees, a giraffe moves moderate at. A bird flies past the adventurers. Turning, they walking speed quickly and cheerfully spot an elephant herd lumbering toward them. Later, the passengers slowly of the eep are startled when a lion runs past,. A hippo and her lively and fast baby move across the road and the eep to a stop. very slowly gradually slows As the sun sets over the plain, the eep goes, headed back to camp. gradually faster 8 6 Number the pictures below from (slowest) to 6 (fastest) and write the appropriate tempo marking for each on the line. Slower Faster No. No. No. No. No. No Copyright MMVI by Alfred Publishing Co., Inc. 8

28 Unit ACTIVITY Name/Class Use after completing page. Matching Draw lines matching the terms on the left with their definitions on the right. Tempo Marks and Dynamic Signs Accelerando Adagio Allegro Andante Crescendo Diminuendo Largo Moderato Ritardando Vivace Gradually softer Moving along (walking speed) Lively and fast Gradually slower Gradually faster Moderately Gradually louder Very slow Quickly, cheerfully Slow 0 Matching Other Musical Terms Accent Coda Da Capo Dal Segno Fermata Fine Sforzando Staccato Tempo Tenuto Copyright MMVI by Alfred Publishing Co., Inc. Hold the note for its full value Rate of speed how fast or slow the music is to be played An added ending Hold the note longer than its normal value (approximately twice the normal duration) Play the note short and detached A sudden, strong accent The end Repeat from the beginning Repeat from the sign Play the note louder, with a special emphasis

29 Unit ACTIVITY Name/Class Use after completing page. Word Search Find the words from the list below and circle them in the puzzle. Words may appear forward, backward, up, down or diagonally, and may overlap. I Z J L O Z Z E M H A S Y X O F X T E N U T O C L F Y F T M X C N P G N C O N O R A A D I M I N U E N D O R I C C C H S F Q L C S A G Z L J C A H U S E I C I L R A R A A O T Q R I T A R D A N D O T C I A E A T E Q K L D Q I S F N G M B T R W D U O V R P D O T A R E D O M M P J I O A T G O D E P N F K R U I X Y I F B G A F A Y J K Q U F A C G E C A V I V C K Q T W I N X A P C J P I M H C L G H B D N O Q K X L D Q V F Accelerando Accent Adagio Coda Da Capo Dal Segno Diminuendo Fermata Fine Forte Fortissimo Largo Mezzo Moderato Piano Ritardando Sforzando Staccato Tenuto Vivace The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit Copyright MMVI by Alfred Publishing Co., Inc. 0 00

30 Unit ACTIVITY Name/Class Music Crossword Puzzle Use after completing page ACROSS. The Italian word for the sign is. 6. Dal Segno (D.S.) means repeat from the. 7. The Italian words for P are. 0. Moderato means.. The Italian word for f is.. The English translation of Andante is. Copyright MMVI by Alfred Publishing Co., Inc.. The symbol below the note to the right is ' h an. 8. The Italian word for ƒ is. 9. Mezzo piano means moderately.. The Italian word for the sign is.. Da Capo (D.C.) means repeat from the.. Rondo Alla Turca was composed by Wolfgang Amadeus. DOWN. issimo means.. The Italian word for gradually faster is.. The Italian word for p is.. Fine means the. 8. The sign that means to hold a note longer than its normal value is a. 9. The sign that means to hold a note for its full value is a.. The English translation of Largo is.. The English translation of Vivace is lively and. 6. The Italian word for gradually slower is. 7. Staccato means to play the note short and. 9. The English translation of Adagio is. 0. A Coda (fi) is an added.. The Italian word that tells how fast or slow 00 to play the music is.

31 Unit TEST Name/Class Use after completing page. Write the dynamic sign for each of the following Italian words. a. piano b. pianissimo c. decrescendo d. forte g. mezzo forte e. fortissimo h. crescendo f. mezzo piano 6 Write the English definitions of the following tempo marks. a. Moderato b. Allegro c. Accelerando d. Largo e. Vivace f. Ritardando 6 g. Adagio h. Andante Draw a quarter note with the stem down utilizing the following articulations. a. Staccato: b. Tenuto: c. Accent: d. Fermata: 0 Write the symbol for sforzando. Write out the following musical example as it would actually be played without using D.S. al Fine or Fine.. % 6 Fine Π6 D.S. al Fine ΠWrite out the following musical example as it would actually be played without using D.S. al Coda or fi Coda. D.S. al Coda % Πfi 8 fi Coda 8 Copyright MMVI by Alfred Publishing Co., Inc. 00

32 Unit ACTIVITY Name/Class Use after completing page 8. Unit ACTIVITY Name/Class Use after completing page 9. Dynamic Signs Write the Italian word and musical sign for each of the following English definitions. Italian Sign English fortissimo mezzo piano piano mezzo forte pianissimo forte ƒ P p F π f Very loud Moderately soft Soft Moderately loud Very soft Loud Arrange the dynamic signs above in order from loudest to softest. ƒ f F p P π Write the Italian word and musical sign for each of the following English definitions. 0 0 Tempo Marks on Safari On each line, write the Italian translation of the tempo mark indicated below the line. Use the following tempo marks: Accelerando, Adagio, Allegro, Andante, Largo, Moderato, Ritardando, Vivace Andante Largo Moderato In deepest Africa a eep moves at a pace. Through the trees, a giraffe moves moderate Adagio Vivace accelerando Allegro at. A bird flies past the adventurers. Turning, they walking speed quickly and cheerfully spot an elephant herd lumbering toward them. Later, the passengers slowly of the eep are startled when a lion runs past,. A hippo and her lively and fast ritardando baby move across the road and the eep to a stop. very slowly gradually slows As the sun sets over the plain, the eep goes, headed back to camp. gradually faster * 6 Italian Sign English crescendo diminuendo (or decrescendo) Name two things that might have the dynamic marking of piano: (Example: leaves moving in a breeze) a. b. drops of water a whisper Gradually louder Gradually softer What nationality of composers was among the first to use dynamic signs in their manuscripts? Italian Name two things that might have the dynamic marking of forte: (Example: a roaring lion) a. b. trumpeting elephant airplane Number the pictures below from (slowest) to 6 (fastest) and write the appropriate tempo marking for each on the line. Slower No. Largo No. No. Andante Faster 6 No. Vivace No. No. Moderato *Correct student answers may vary. 00 Adagio Allegro Unit ACTIVITY Name/Class Use after completing page. Unit ACTIVITY Name/Class Use after completing page. Matching Draw lines matching the terms on the left with their definitions on the right. Tempo Marks and Dynamic Signs Word Search Find the words from the list below and circle them in the puzzle. Words may appear forward, backward, up, down or diagonally, and may overlap. Accelerando Gradually softer I Z J L O Z Z E M H A S Y X Adagio Moving along (walking speed) O F X T E N U T O C L F Y F Allegro Andante Crescendo Diminuendo Lively and fast Gradually slower Gradually faster Moderately T M X C N P G N C O N O R A A D I M I N U E N D O R I C C C H S F Q L C S A G Z L J Largo Gradually louder C A H U S E I C I L R A R A Moderato Very slow A O T Q R I T A R D A N D O Ritardando Quickly, cheerfully 0 T C I A E A T E Q K L D Q I Vivace Slow S F N G M B T R W D U O V R Matching P D O T A R E D O M M P J I Other Musical Terms O A T G O D E P N F K R U I Accent Hold the note for its full value X Y I F B G A F A Y J K Q U Coda Rate of speed how fast or slow the music is to be played F A C G E C A V I V C K Q T Da Capo An added ending W I N X A P C J P I M H C L Dal Segno Hold the note longer than its normal value (approximately twice the normal duration) G H B D N O Q K X L D Q V F Fermata Fine Sforzando Staccato Play the note short and detached A sudden, strong accent The end Repeat from the beginning 0 Accelerando Accent Adagio Coda Da Capo Dal Segno Diminuendo Fermata Fine Forte Fortissimo Largo Mezzo Moderato Piano Ritardando Sforzando Staccato Tenuto Vivace Tempo Tenuto Repeat from the sign Play the note louder, with a special emphasis

33 Unit ACTIVITY Name/Class Music Crossword Puzzle V A P E 6 D E C R E S C E N D O S I G N R C A D 7 Y M E Z Z O P I A N O 8 9 F L O T 0 E M O D E R A T E L Y F O R T E R R N M O V I N G A L O N G V U A N F A C C E N T 6 T D R A R O 7 8 A D F O R T I S S I M O Y 9 0 E T T S S O F T E A T L L A N C R E S C E N D O O C D D M W W H I A P ACROSS. The Italian word for the sign is. 6. Dal Segno (D.S.) means repeat from the. 7. The Italian words for P are. 0. Moderato means.. The Italian word for f is.. The English translation of Andante is. B E G I N N I N G O D G D. The symbol below the note to the right is ' h an. 8. The Italian word for ƒ is. 9. Mezzo piano means moderately.. The Italian word for the sign is.. Da Capo (D.C.) means repeat from the.. Rondo Alla Turca was composed by Wolfgang Amadeus. M O Z A R T DOWN. issimo means.. The Italian word for gradually faster is.. The Italian word for p is.. Fine means the. 8. The sign that means to hold a note longer than its normal value is a. 9. The sign that means to hold a note for its full value is a.. The English translation of Largo is. Use after completing page.. The English translation of Vivace is lively and. 6. The Italian word for gradually slower is. 7. Staccato means to play the note short and. 9. The English translation of Adagio is. 0. A Coda (fi) is an added.. The Italian word that tells how fast or slow 00 to play the music is. Unit TEST Name/Class.. Write the dynamic sign for each of the following Italian words. p ff Q. Q Q ' U Q ß Write the symbol for sforzando. % % Œ Œ fi π ƒ Write the English definitions of the following tempo marks. a. Moderato moderately b. Allegro gradually faster c. Accelerando d. Largo e. Vivace g. Adagio lively & fast slow f. Ritardando h. Andante Œ 8 Œ Fine 6 Œ Œ 8 6 D.S. al Fine Œ fi Coda P a. piano b. pianissimo c. decrescendo d. forte e. fortissimo f. mezzo piano g. mezzo forte h. crescendo quickly, cheerfully very slow gradually slower moving along Draw a quarter note with the stem down utilizing the following articulations. a. Staccato: b. Tenuto: c. Accent: d. Fermata: Write out the following musical example as it would actually be played without using D.S. al Fine or Fine. 6 Write out the following musical example as it would actually be played without using D.S. al Coda or fi Coda. D.S. al Coda Use after completing page The receipt of this page via the Music In Our Schools Month Offer (March 07) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit 6