Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off
Reading...
Front

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key

image

Play button

image

Play button

image

Progress

1/104

Click to flip

104 Cards in this Set

  • Front
  • Back
Phase 1
Title page and overview
Phase 1
1
Composer

when and where was piece written
other works by composer
Phase 1
2
Title

inferrence from title
genre
Phase 1
3
Dedication

is there one? what does it imply
Phase 1
4
Historical context

style of period
composer's style
Phase 1
5
Instrumentation

review transposition and ranges
Phase 1
6
Clefs

What clefs are used
Phase 1
7
concert pitch or transposed

C is frequently used for concert pitch
Phase 1
8
tempo indications / metronome markings
Phase 1
9
understand experssive markings and dynamic markings
Phase 1
10
text

is there text / is it a translation
Phase 1
11
Publisher

does publisher imply anything
Phase 1
12
explanations
are there explanations for unusual notation or effects
Phase 2
Structural features
Phase 2
1
Formal design

how many sections
characteristics of sections
chart sections
Phase 2 Structural Features
2
Melodic development

Identify main melodic materials
motives and imitation
technical problems
Phase 2 Structural Features
3
Harmonic organizaton

key signatures and bass line
pedal points and main cadences
Phase 2 Structural Features
4
Rhythmic development

What are distinctive qualities of piece
Phase 2 Structural Features
5
texture

polyphonic, homophonic or monophonic
density
Phase 2 Structural Features
6
Text

compare text with meaning of text / know correct pronunciation
Phase 2 Structural Features
7
Conducting problems

mark meter, tempo changes
cadences
Phase 3
interpretation
Phase 3 Interpretation
1
what to emphasize

consider melodic, rhythmic and
harmonic qualities, tension and release
Phase 3 Interpretation

2
tempo

set correct tempo for each section / use a metronome
Phase 3 Interpretation
3
structural evolution

bring out new structural features so the audience will hear them
Phase 3 Interpretation

4
audience response

how do you want the audience to respond
Phase 3 Interpretation

5
listen to recordings

after you make your own interpretation
Common transpositions
c b-flat f and eflat
Common transpositions

C
one or more octaves up or down
Common transpositions

B-flat
major second, major ninth, major ninth plus one octave lower, minor seventh higher
Common transpositions

F
Perfect fifth lower (if in bass clef, perfect fourth up or perfect fifth down as specified)
Common transpositions

E-flat
major sixth lower, major sixth plus one lower, minor third higher
Wind transpositions

C piccolo
C - sounds octave higher
Wind transpositions

English horn
F - sounds P5 lower
Wind transpositions

E-flat clarinet
Eb - sounds m3 higher
Wind transpositions

Bb clarinet
Bb- sounds M2 lower
Wind transpositions

A clarinet
A - sounds m3 lower
Wind transpositions

Alto clarinet
Eb - sounds M6 lower
Wind transpositions

Bass clarinet
Bb- sounds M9 lower
Wind transpositions

EEb contra-alto clarinet
Eb - sounds M6 +8 lower
Wind transpositions

BBb contrabass clarinet
Bb - sounds M2 +2 oct lower
Wind transpositions

Contrabassoon
C - octave lower
Wind transpositions

Bassoon
C
Wind transpositions

Soprano sax
Bb - M2 lower
Wind transpositions

Alto sax
Eb - M6 lower
Wind transpositions

Tenor sax
Bb - M9 lower
Wind transpositions

Bari sax
Eb - M6 +8 lower
Wind transpositions

F horn
F - P5 lower
Wind transpositions

C trumpet
C - concert pitch
Wind transpositions

Bb trumpet
Bb - M2 lower
Wind transpositions

D trumpet
D - M2 higher
Wind transpositions

Bb pic trumpet
Bb - m7 higher
String Bass
Octave lower
Celesta
Octave higher
Orchestral bells
28va higher
Tuba
as written
Rehearsals

Style 1
use concert pitch, not transposed pitch
Rehearsals

Style 2
Sing to demonstrate
describe style in musical terms
Rehearsals

Style 3
work on one small section that embodies the essence of its style
Rehearsals

Style 4
play recordings
Rehearsals

Style 5
ask individual players to demonstrate style
Rehearsals

Rhythm 1
identify each problem and give clear positive instructions
Rehearsals

Rhythm 2
demonstrate correct rhythm by singing or tapping it
Rehearsals

Rhythm 3
teach to everyone
Rehearsals

Rhythm 4
write it on a chalkboard and have everyone sing or play it in unison
Rehearsals

Rhythm 5
have everyone say it in rhythm syllables
Rehearsals

Rhythm 6
have everyone conduct while singing
Rehearsals

Rhythm 7
have one or more play it melodiclly while the others say it in rhythm syllables
Rehearsals

Intonation 1
tune to reliable reference pitch
Rehearsals

Intonation 2
tune to more than one note
Rehearsals

Intonation 3
encourage students to work with tuner outside of rehearsal
Rehearsals

Intonation 4
make players individually responsible for intonation
Rehearsals

Intonation 5
ask performers to fix their own intonation problems
Rehearsals

Intonation 6
have out of tune performers listen to players who are in tune and tune to them
Rehearsals

Intonation 7
developing a good sense of intonation is an absolute necessity
Rehearsals

Balance and Blend 1
describe problems and say what needs to be louder or softer
Rehearsals

Balance and Blend 2
ask performers to listen and identify problems
Rehearsals

Balance and Blend 3
discuss timbre to create blended sound
Rehearsals

Balance and Blend 4
balance a single chord to establish balance
Rehearsals

Balance and Blend 5
create chord from top to bottom
Rehearsals

Balance and Blend 6
ask for parts of the chord
Rehearsals

Technique 1
isolate problem and work on it

shift from micro to macro
Rehearsals

Technique 2
take a very slow tempo and work for precision and control
Rehearsals

Technique 3
rehearse sections separately
Rehearsals

Technique 4
identify performers doing the problem area correctly and have them demonstrate
Rehearsals

Warm-ups 1
produce physical and mental readiness
Rehearsals

Warm-ups 2
use materials related to music to be rehearsed
Rehearsals

Warm-ups 3
work on fundamentals of tone production, technique and articulation
Rehearsals

Warm-ups 4
emphasize listening and concentration
Rehearsals

Warm-ups 5
vary exercises
Rehearsals

Warm-ups 6
keep track of time
Rehearsals

organizing rehearsal time 1
begin and end with something they can play
Rehearsals

organizing rehearsal time 2
balance working individual and ensemble
Rehearsals

organizing rehearsal time 3
work macro to micro
Rehearsals

organizing rehearsal time 4
post a weekly rehearsal schedule
Leadership 1
treat performers with dignity and respect
Leadership 2
don't embarrass or humiliate anyone
Leadership 3
don't use intimidation
Leadership 4
use first names
Leadership 5
try to emphasize the positives
Leadership 6
challenge the group to do better
Leadership 7
make a point of giving each section positive feedback on a regular basis
Leadership 8
teach performers to follow your gestures
Leadership 9
make sure you are actually giving the directions visually