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104 Cards in this Set
- Front
- Back
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Phase 1
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Title page and overview
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Phase 1
1 |
Composer
when and where was piece written other works by composer |
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Phase 1
2 |
Title
inferrence from title genre |
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Phase 1
3 |
Dedication
is there one? what does it imply |
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Phase 1
4 |
Historical context
style of period composer's style |
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Phase 1
5 |
Instrumentation
review transposition and ranges |
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Phase 1
6 |
Clefs
What clefs are used |
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Phase 1
7 |
concert pitch or transposed
C is frequently used for concert pitch |
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Phase 1
8 |
tempo indications / metronome markings
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Phase 1
9 |
understand experssive markings and dynamic markings
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Phase 1
10 |
text
is there text / is it a translation |
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Phase 1
11 |
Publisher
does publisher imply anything |
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Phase 1
12 |
explanations
are there explanations for unusual notation or effects |
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Phase 2
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Structural features
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Phase 2
1 |
Formal design
how many sections characteristics of sections chart sections |
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Phase 2 Structural Features
2 |
Melodic development
Identify main melodic materials motives and imitation technical problems |
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Phase 2 Structural Features
3 |
Harmonic organizaton
key signatures and bass line pedal points and main cadences |
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Phase 2 Structural Features
4 |
Rhythmic development
What are distinctive qualities of piece |
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Phase 2 Structural Features
5 |
texture
polyphonic, homophonic or monophonic density |
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Phase 2 Structural Features
6 |
Text
compare text with meaning of text / know correct pronunciation |
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Phase 2 Structural Features
7 |
Conducting problems
mark meter, tempo changes cadences |
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Phase 3
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interpretation
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Phase 3 Interpretation
1 |
what to emphasize
consider melodic, rhythmic and harmonic qualities, tension and release |
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Phase 3 Interpretation
2 |
tempo
set correct tempo for each section / use a metronome |
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Phase 3 Interpretation
3 |
structural evolution
bring out new structural features so the audience will hear them |
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Phase 3 Interpretation
4 |
audience response
how do you want the audience to respond |
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Phase 3 Interpretation
5 |
listen to recordings
after you make your own interpretation |
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Common transpositions
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c b-flat f and eflat
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Common transpositions
C |
one or more octaves up or down
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Common transpositions
B-flat |
major second, major ninth, major ninth plus one octave lower, minor seventh higher
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Common transpositions
F |
Perfect fifth lower (if in bass clef, perfect fourth up or perfect fifth down as specified)
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Common transpositions
E-flat |
major sixth lower, major sixth plus one lower, minor third higher
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Wind transpositions
C piccolo |
C - sounds octave higher
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Wind transpositions
English horn |
F - sounds P5 lower
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Wind transpositions
E-flat clarinet |
Eb - sounds m3 higher
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Wind transpositions
Bb clarinet |
Bb- sounds M2 lower
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Wind transpositions
A clarinet |
A - sounds m3 lower
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Wind transpositions
Alto clarinet |
Eb - sounds M6 lower
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Wind transpositions
Bass clarinet |
Bb- sounds M9 lower
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Wind transpositions
EEb contra-alto clarinet |
Eb - sounds M6 +8 lower
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Wind transpositions
BBb contrabass clarinet |
Bb - sounds M2 +2 oct lower
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Wind transpositions
Contrabassoon |
C - octave lower
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Wind transpositions
Bassoon |
C
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Wind transpositions
Soprano sax |
Bb - M2 lower
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Wind transpositions
Alto sax |
Eb - M6 lower
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Wind transpositions
Tenor sax |
Bb - M9 lower
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Wind transpositions
Bari sax |
Eb - M6 +8 lower
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Wind transpositions
F horn |
F - P5 lower
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Wind transpositions
C trumpet |
C - concert pitch
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Wind transpositions
Bb trumpet |
Bb - M2 lower
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Wind transpositions
D trumpet |
D - M2 higher
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Wind transpositions
Bb pic trumpet |
Bb - m7 higher
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String Bass
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Octave lower
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Celesta
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Octave higher
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Orchestral bells
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28va higher
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Tuba
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as written
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Rehearsals
Style 1 |
use concert pitch, not transposed pitch
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Rehearsals
Style 2 |
Sing to demonstrate
describe style in musical terms |
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Rehearsals
Style 3 |
work on one small section that embodies the essence of its style
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Rehearsals
Style 4 |
play recordings
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Rehearsals
Style 5 |
ask individual players to demonstrate style
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Rehearsals
Rhythm 1 |
identify each problem and give clear positive instructions
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Rehearsals
Rhythm 2 |
demonstrate correct rhythm by singing or tapping it
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Rehearsals
Rhythm 3 |
teach to everyone
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Rehearsals
Rhythm 4 |
write it on a chalkboard and have everyone sing or play it in unison
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Rehearsals
Rhythm 5 |
have everyone say it in rhythm syllables
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Rehearsals
Rhythm 6 |
have everyone conduct while singing
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Rehearsals
Rhythm 7 |
have one or more play it melodiclly while the others say it in rhythm syllables
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Rehearsals
Intonation 1 |
tune to reliable reference pitch
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Rehearsals
Intonation 2 |
tune to more than one note
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Rehearsals
Intonation 3 |
encourage students to work with tuner outside of rehearsal
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Rehearsals
Intonation 4 |
make players individually responsible for intonation
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Rehearsals
Intonation 5 |
ask performers to fix their own intonation problems
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Rehearsals
Intonation 6 |
have out of tune performers listen to players who are in tune and tune to them
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Rehearsals
Intonation 7 |
developing a good sense of intonation is an absolute necessity
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Rehearsals
Balance and Blend 1 |
describe problems and say what needs to be louder or softer
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Rehearsals
Balance and Blend 2 |
ask performers to listen and identify problems
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Rehearsals
Balance and Blend 3 |
discuss timbre to create blended sound
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Rehearsals
Balance and Blend 4 |
balance a single chord to establish balance
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Rehearsals
Balance and Blend 5 |
create chord from top to bottom
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Rehearsals
Balance and Blend 6 |
ask for parts of the chord
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Rehearsals
Technique 1 |
isolate problem and work on it
shift from micro to macro |
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Rehearsals
Technique 2 |
take a very slow tempo and work for precision and control
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Rehearsals
Technique 3 |
rehearse sections separately
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Rehearsals
Technique 4 |
identify performers doing the problem area correctly and have them demonstrate
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Rehearsals
Warm-ups 1 |
produce physical and mental readiness
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Rehearsals
Warm-ups 2 |
use materials related to music to be rehearsed
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Rehearsals
Warm-ups 3 |
work on fundamentals of tone production, technique and articulation
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Rehearsals
Warm-ups 4 |
emphasize listening and concentration
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Rehearsals
Warm-ups 5 |
vary exercises
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Rehearsals
Warm-ups 6 |
keep track of time
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Rehearsals
organizing rehearsal time 1 |
begin and end with something they can play
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Rehearsals
organizing rehearsal time 2 |
balance working individual and ensemble
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Rehearsals
organizing rehearsal time 3 |
work macro to micro
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Rehearsals
organizing rehearsal time 4 |
post a weekly rehearsal schedule
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Leadership 1
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treat performers with dignity and respect
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Leadership 2
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don't embarrass or humiliate anyone
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Leadership 3
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don't use intimidation
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Leadership 4
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use first names
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Leadership 5
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try to emphasize the positives
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Leadership 6
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challenge the group to do better
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Leadership 7
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make a point of giving each section positive feedback on a regular basis
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Leadership 8
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teach performers to follow your gestures
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Leadership 9
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make sure you are actually giving the directions visually
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