Lubash Read Online. Kandel Best Seller. Meyer Best Seller. Goldstein Best Seller. Barnes Best Seller. Harrison Read Online. Read Online. Layton Best Seller. Foley Read Online. Quick Best Seller. Brookhart Best Seller. Williams Best Seller. Articles similaires. Entrez votre commentaire E-mail obligatoire adresse strictement confidentielle. Nom obligatoire. Site web. Titre du Site. Connectez-vous maintenant. Year 7 4 6 7 3 Show more Language English. Displaying Editions 1 - 10 out of First Prev 1 2 3 Next Last.
Print book. A creative approach to music fundamentals by William Duckworth. This makes it visually easier to tell where the beats are. When beams are used, they indicate the rhythmic value of the notes in the same way as flags do for individual notes. This is usually done to make the rhythm clearer to the eye and does not affect the value of the notes in any way.
The rule is that if a stem is touched by a beam, it becomes that value, even if the beam touches only one side of the stem. Thus, in the following example, the two sixteenth-note patterns would sound identical, even though they look slightly different, because each stem is touched by two beams. Once you begin working with rhythms of different note values you will notice that short, incomplete beams are often used. In this example, the second and fourth notes are sixteenth notes, and the first and third are eighth notes the function of the dot will be explained later in this chapter.
Just remember that if a stem is touched by a beam, it becomes that value, and you should not have any trouble deciphering the rhythmic patterns that appear throughout the rest of this book. Keep the following points in mind: 1. Note heads are oval rather than round. The flags on eighth and sixteenth notes always point to the right, no matter which side of the note the stem is on.
Notice also that when the stem points down it is always located to the left of the notehead, and when it points up it is always on the right. Now try some on your own. Remember to draw examples of the stems both above and below the notes. Thus, if the quarter note receives one pulse, the half note will receive two pulses and the whole note four pulses.
This proportionality can be illustrated in the following way: The proportionality of note values may be easier to understand if we put them into a rhythm tree. Here, each horizontal line of notes lasts the same amount of time, that is, four pulses.
If, for example, the eighth note receives one pulse, the quarter note will get two pulses and the half note four pulses. Similarly, if the half note receives one pulse, the whole note will get two pulses and two quarter notes will be needed to complete one pulse.
Remember to listen for the basic, underlying pulse. Each note value has a corresponding rest sign. We can create a rhythm tree for rests similar to the one we made for note values. It can serve this purpose for any meter, and when used in this way it is centered within the measure. The music staff pl. In music notation, the five lines, the four spaces between the lines, and the spaces above and below the staff are all utilized.
The lines and spaces are numbered from bottom to top: the lines 1 through 5, the spaces 1 through 4. Noteheads The lines and spaces of the staff, from the bottom to the top, indicate successively higher pitches. In technical terms, pitch is the frequency at which a given sound vibrates. The faster the vibration, the higher the pitch is said to be. A more detailed explanation of the physical characteristics of sound is given in Appendix I.
They may appear either on a line or in a space, as in the following staff. Notice that the second notehead represents a slightly higher pitch than the first one, since the third space is above the third line. Look back at that effort now. Are your noteheads clearly on the line? In order to indicate pitch, noteheads must be placed exactly on a line or in a space.
Remember to make the noteheads oval rather than round, and to draw them small enough so that they sit clearly centered either in a space or on a line. Listen carefully to each of the sequences, and indicate in the numbered spaces below the examples whether the second note is higher in pitch H or lower in pitch L than the first.
Remember, these examples are being played in random order. Listen carefully to each of the sequences, and in the spaces below the examples, indicate whether the last note is higher in pitch H or lower in pitch L than the first.
Clefs The first seven letters of the alphabet A through G are used to name pitches. The staff by itself does not represent any particular set or range of pitches; this is the function of clef signs.
Each clef sign locates a particular pitch on the staff. Two clef signs are used the most: treble clef and bass clef. The Treble Clef The treble clef, or G clef, identifies the second line of the staff as the location for the note G that is five notes above middle C the C approximately in the middle of the piano keyboard. First draw a vertical line and then draw the remainder of the clef, starting at the top of the vertical line. Remember to encircle the second line with the lower part of the clef.
Remember, only the first seven letters of the alphabet are used. After that, the sequence of letters repeats. As a class and later on your own , practice the following sequences using the letters A through G.
Notice that some of the sequences move up the alphabet whereas others move down it. When you begin, try to keep a steady pulse as you say the sequences. Then try singing them in rhythm, with letter names. For each song, see whether some pitches occur more frequently than others, and identify the pitch that seems to produce the most restful feeling or clearest sense of completion.
If you play piano or guitar, once you are comfortable singing these melodies, try playing one or both of them on your instrument. Your teacher or another student may be able to accompany you. The Bass Clef The bass clef, or F clef, identifies the fourth line of the staff as the location for the note F that is five notes below middle C on the piano. First draw a dot on the fourth line; then draw the curved sign, beginning at the dot; and finally place two dots to the right of the sign, one just above the fourth line and one just below.
As with the treble clef, the pitches of the bass clef are arranged in alphabetical sequence. For each song, identify the pitch that seems to produce the most restful feeling or clearest sense of completion. Then, if you play piano or guitar, try playing one or both of these songs on your instrument. The Great Staff The great staff, also known as the grand staff, consists of a treble clef staff and a bass clef staff joined together by a vertical line and a brace.
The great staff is used primarily for piano music. It is also sometimes used for choral music or any other type of music requiring a range of pitches too wide for a single staff. In the following example, notice that one pitch, middle C—so called because of its location in the middle of the piano keyboard and on the great staff—does not touch either staff.
Instead, it sits on a short line, called a ledger line, that is not part of either staff. Ledger lines are explained in more detail on page Rather, it is located closer to one staff or the other.
In piano music, the notes on the treble staff are usually played by the right hand, and the notes on the bass staff are played by the left hand. As shown in the following example, the location of middle C indicates which hand is to play it. In choral music, the location of middle C indicates which voice should sing it. The Keyboard When you first begin to learn music theory, it is enormously helpful to know your way around the keyboard.
Either the piano or the electronic keyboard will do equally well. With either of them you will be able to both hear and see concepts of musical sound such as intervals, scales, and triads. This section will introduce the keyboard and help you begin to understand it. Future chapters will frequently refer to the keyboard when clarifying particular points. Some exercises will help you become familiar with the keyboard.
The standard piano keyboard has 88 keys: 52 white ones and 36 black ones. The black keys on both pianos and synthesizers are arranged in alternating groups of twos and threes. Moving from right to left on all keyboards produces successively lower pitches, while moving from left to right creates successively higher ones. The White Keys As explained earlier, only the first seven letters of the alphabet are used to name pitches. These seven letters name the white keys of the piano, beginning at the left end of the keyboard with A and successively repeating the sequence A through G up to the other end of the keyboard.
Learning the keyboard is easier when you locate and remember two landmarks. The first is the note C. In the following illustration, notice that the note C always occurs immediately to the left of a group of two black keys. The pitch called middle C is the one approximately in the middle of the keyboard. The second landmark to locate is F.
This is the pitch that occurs immediately to the left of a group of three black keys. Remember, too, that only the letters A through G are used, and that the alphabetical sequence runs from left to right. But be careful not to rely too heavily on landmarks at the expense of learning all of the keys equally well. Landmarks are convenient at the beginning, but you only know the keyboard when you can name any key at random.
Find and play these pitches at the piano, and name each song if you can. When you have completed your work at the piano, practice singing each song fragment with letter names. The Black Keys The black keys of the piano are named in relation to the white keys that they stand between. Furthermore, each black key can be identified by two different names.
It is important to remember that each of the white keys has its own letter name A through G , while each of the black keys is related to, and takes its name from, the white key on either side of it. Musical Distances The piano keyboard has the important characteristic of allowing us to visualize musical distances. The musical distance between two pitches, whether sounded or written on the staff, is called an interval. Half Steps The smallest interval on the piano is a half step.
This is the distance from any key to the key immediately above or below it. The following example shows the three situations in which half steps can occur: 1 between a white key and a black key, 2 between a black key and a white key, and 3 between a white key and a white key.
Notice that the third possibility, between a white key and a white key, appears in only two places in each octave—between E and F and between B and C. As you look at this example, remember that an interval is the distance between two notes. Half steps are either diatonic or chromatic.
A diatonic half step consists of two pitches with adjacent letter names and staff locations. Whole Steps A whole step consists of two half steps.
On the keyboard, there will be one key between the two pitches that are a whole step apart. Whole steps can appear 1 between a white key and a white key, 2 between a black key and a black key, and 3 between a white key and a black key.
In each instance, the whole step has one pitch in between. If the note is centered on a space, then the accidental before it must also be centered in the same space. This is also true for a note located on a line—the accidental before it must be centered on the same line. This precision in placement is necessary because musicians read the note and the accidental as a single unit. If you are careless and place the accidental in the wrong place, you will be sending contradictory information to the performer.
Double sharps and double flats can be confusing. As you know, the sharp sign raises a pitch by a half step. In most instances, this means that a pitch will be raised from a white key to a black key—for example, F to Fs, C to Cs.
Thus, F to F appears on the keyboard as F to G. In the same ff way, E to E appears on the keyboard as E to D. Making music is a skill. Everybody hones their talent.
Music is both a mental and a physical effort and most musicians practice every day. It also helps to think of practicing as a daily journey—one that never ends.
If it helps, you can think of practicing as homework for the future. Each chapter is followed by a set of Practice Materials that will help you become more familiar with the concepts and skills covered in that chapter. The Practice Materials are designed to be torn out and handed in to your instructor, without removing any of the text. There is also a Focus on Fundamentals CD-ROM that contains audio some of the musical examples, as well as interactive activities that help you develop your skills through practice at home.
It can be varied, challenging, and fun. In this system, musical information is stored by the composer in a code of shapes and symbols. A performer wishing to turn this written code back into sound must understand not only which musical elements are being dealt with but also how they are encoded. The key to reading and writing Western music is to realize that the written music of our culture focuses on and encodes two major musical elements: pitch, which is the basis of melody and harmony; and duration, through which the rhythm flows.
While a lot of additional information is given in music notation, these two elements— rhythm and pitch—are the primary ones. As you probably are aware by now, the piano or electric keyboard is extremely useful in helping us visualize abstract musical concepts like intervals, scales, and chords. Knowing the keyboard is also important for a number of other reasons, such as understanding harmony, learning voicing for arranging, and composing. These people feel that improving their abilities on the keyboard helps them to understand the music better.
Even if you do not play piano or synthesizer, you should spend some time each day becoming familiar with the keyboard. The Class Work and Practice Materials in this book are useful for this purpose, as are simple songbooks and beginning sight-singing books. Remember, too, that being able to hear what you play before you play it is one of the goals of becoming more musical. Your skill at sight-singing will improve if you practice it for a few minutes each time you sit down to practice your instrument.
Try singing each exercise before you play it. Then play it. Then sing it again. This may seem difficult at first, but you will get better as you practice, and the skill you will learn will be invaluable. Clap and count the rhythms, and try to sing the melodies using a neutral syllable such as la.
In Chapter 5 you will learn another way to sing melodies called moveable do. After you have tried to sing these melodies, play them on the keyboard to check for accuracy. These three appendices contain a lot of practice material. As you continue with this book, it would be extremely helpful to practice one or two rhythms and melodies at the beginning of each study session. They are designed to be torn out and handed in as your teacher requests without destroying any of the text of the book.
Similar practice materials will appear at the end of each chapter. Practice Materials Practice Materials Identify by letter name the following pitches in the treble clef. Remember that each pitch will occur in more than one place, since these keyboards are greater than an octave. When you have written all the pitches, practice finding and playing them on the piano.
Finally, find and play each of the pitches at the piano. Practice Materials Locate the following pitches on the black keys of the keyboard by drawing a line from each pitch name to the appropriate places on the keyboard.
When you have located all the pitches, practice finding and playing them on the piano. Use the letters W or H to indicate the interval and write them in the space provided. Then, play each of the pitches on the piano. In this chapter we will learn about simple meter, including a method for counting it, whereas in Chapter 3 we will study compound meter and how it is counted. We will begin, however, by learning about dotted notes, which is a way of increasing the time value of any note.
One such new note value is the dotted note. When you first begin to study dotted notes, they can seem very confusing. But if you will keep in mind that the dot always means the same thing, you will have less trouble. A dot to the right of a notehead gives that note a longer duration. Furthermore, the dot always increases the time value of that note by one-half.
For example, a half note is equal in value to two quarter notes. When a dot is placed beside a note, this new note, called a dotted note, becomes equal to the original value plus one-half the original value.
Rests as well as notes can be increased in value by adding a dot, although dotted rests are used less often than dotted notes. As with notes, a dot placed to the right of a rest increases its value by one-half. It always appears at the beginning of a piece of music. The time signature gives us two different pieces of information: The top number tells us the meter of the piece; the bottom number identifies the note value that represents the pulse.
For example, in the time signature T: 3 indicates triple meter—that is, three pulses per measure. Remember that although the quarter note represents the pulse for many pieces, other note values can also serve this purpose. Both the eighth note and the half note are frequently used.
Here is an example of triple meter with the eighth note representing the pulse, while this is a triple meter with the half note representing the pulse. Notice, incidentally, that the meter signature is never written as a fraction:. Simple Meter Thus far, our discussion of meter has dealt entirely with what is called simple meter. In simple meter, the basic pulse is normally divided into two equal parts. Follow the example. Your teacher will help as needed.
A Counting Method for Simple Meters In learning rhythms, it is helpful to know a method of counting that can be spoken aloud as you are clapping rhythms. Although several systems are in use, the following one is recommended. Practice counting the following examples in simple meter until you feel comfortable with the basic pulse. Remember to always keep the pulse steady. Rhythm I: Simple Meter Divisions of the Pulse When dividing simple meters, and is used to indicate the division of the pulse.
Practice the following examples until they feel comfortable. Here are some examples to practice. You will probably know some of these pieces and that will help you decide whether you are doing them right or not. When you are comfortable with the counting system, also try playing the rhythms on an instrument or keyboard while counting mentally.
Remember to always keep the basic pulse steady. Half the class should clap the top part and half the bottom part. When you are comfortable with your part, try switching parts. Then, by yourself, try tapping the examples on a desk or table top, one part per hand. You will be told the meter of each example. Listen carefully to each passage, and try to notate it in the space provided below.
Use the counting method to help clarify the rhythmic patterns you hear. These are called common time and alla breve, and both have been in use since the Middle Ages. In common time, the symbol c is used to indicate a Y meter.
Music written with either time signature is counted exactly the same. If the c of common time has a vertical line running through it, that is, C, it is called cut time, or alla breve, and it indicates a y meter, that is, a simple-duple meter with a half-note pulse.
Alla breve is counted the same as y meter. Today, common time and alla breve are not found quite as frequently as are Y and y, but you will encounter them, particularly in march music, where alla breve is the norm.
Tempo How fast the pulse of a piece of music moves is called the tempo. Whereas today we might use the terms fast and slow as indications of speed, many pieces of music use Italian terms to assign the tempo. A more precise method of setting tempo is to use metronome indications.
The metronome is an instrument invented in the early s that produces a specific number of clicks per minute. Each click represents one beat. The metronome indication is given at the beginning of a composition. It looks like this: This particular indication means that the metronome will produce sixty clicks in one minute, and that each click is to be considered the pulse of one quarter note.
Then, experiment with tapping out the examples on a desk or tabletop, one part per hand. If you are particularly adventurous, you might also like to try tapping out the three-part example: Tap out the top part with your right hand, the middle part with your left hand, and the bottom part with one foot.
You may find the three-part example difficult at first, but remember that organists and trap-set drummers use this kind of rhythmic coordination every day. This mastery must include the ability to recognize note values, count meters and rhythms, and perform intricate patterns utilizing a variety of durational symbols. In this chapter we have concentrated on simple meters, which divide the basic pulse into two parts. Also, keep in mind that what at first may seem difficult or confusing will, with consistent practice, become easier.
You may have heard one or both of these pieces before. Clap the rhythm of each melody several times. Then, in the space provided, write a second rhythmic part that, when clapped with the rhythm of the melody, will complement it and create a two-part clapping piece. Your teacher may wish to work on this as a class or assign it as homework. If used as homework, perform these clapping pieces in class and discuss their strengths and weaknesses. Then, divide each example into measures by placing bar lines in the appropriate places.
Remember to put double bar lines at the end. Practice Materials P R A C T I C E When you have correctly placed the bar lines in each of these examples, practice playing each rhythmic passage on the instrument you play or on a keyboard. If you sing, choose a comfortable pitch in the middle of your range.
Remember to hold each note its full value. Practice Materials The following rhythmic passages are barred and notated correctly. Study them carefully and write the meter signature for each in the appropriate place.
Practice Materials The following examples in simple meter are taken from Appendix A. For each, write the counting syllables below each line. Then, practice clapping and saying the syllables aloud. Be sure to keep a steady pulse.
You have to remember all the previous information in order to fully understand any new concepts. This is the first of five such checkpoints; the others come after Chapters 4, 7, 10, and The questions in this section require you to provide information from the first two chapters. If you discover weaknesses in any of these basic areas, be sure to review the relevant sections of those chapters before beginning Chapter 3.
In the space provided, draw a treble clef sign and a bass clef sign, as well as a flat sign, sharp sign, natural sign, double sharp sign, and double flat sign for the given notes. Identify the six basic elements of music.
They may be in any order. Locate the following pitches on the keyboard. Each pitch can be found in more than one place on these keyboards. Make sure you locate them all. Locate the indicated pitches on the black keys of the keyboard by drawing a line from each pitch to the appropriate key.
Remember that the same black key may have two different names. Mentally identify a the meter and b the note value that represents the pulse. Then mark off measures by placing bar lines in the appropriate places in each example. Rewrite the following rhythmic patterns by beaming the eighth notes and sixteenth notes. Identify the following pitches by letter name. Write each indicated pitch in four different places on the grand staff. The easiest way to do this is to locate two in the treble clef and two in the bass clef.
A division into three equal parts is called compound meter. The most common compound meter is Z. I Compound Meter Compound meter may be confusing at first because the Z meter signature seems to indicate that there are six pulses in a measure and that the eighth note gets the pulse.
0コメント