The document is a musical score for the song "With or Without You" by U2, arranged for school ensemble. It provides parts for various instruments and voices, with flexibility for different configurations. The melody is the main line and can be passed between woodwinds, brass and recorders. Additional lines provide harmony, strings, and percussion including hand clapping, foot stomping, and various found instruments. The arrangement aims to be inclusive and allow creative experimentation for performances.
This document provides 10 suggestions for classroom composing activities: 1) composing pentatonic melodies, 2) layered ostinato pieces, 3) compositions using the Dorian mode, 4) setting scenes musically, 5) composing ringtones, 6) working with graphic scores, 7) composing with chords, 8) creating moods and atmospheres, 9) sound exploration, and 10) incorporating improvisation and arranging existing tunes. The suggestions include restricting compositions to certain scales, building up textures, reinforcing cadences, evoking moods through choice of instruments and motifs, and exploring timbres, intervals, scales and chords.
The document is an anthology of musical pieces commissioned by the Professional Development Service for Teachers. It includes 7 pieces arranged for school music programs and young musicians. The pieces cover various genres and styles, including arrangements of traditional folk songs and popular songs by artists like U2. For each piece, the document provides the sheet music, performance notes, and information on the composer or arranger.
Preview of “remember proofed pb & ab.ppt”siobhanpdst
This document provides guidance for presenters on teaching the song "Remember" based on the poem by Christina Rosetti. It recommends teaching the song over multiple 20-30 minute units to thoroughly cover the musical content. Each unit should provide starting points rather than teaching the full song. The document describes students' positive reactions to different elements of the composer's setting of the poem to music, such as the melody and contrasting sections. It outlines teaching outcomes such as working with poetry and music, compositional elements, solfege, and rhythmic concepts. Further potential areas for exploration are mentioned like cross-curricular connections, technical skills, musical form, and solo opportunities.
This document outlines a lesson plan for students to analyze a poem and song. It discusses having students read the poem "Remember" and describe how they would compose music for it. They then listen to Marian Ingoldsby's song setting of the poem. Students describe the composer's version as soft, slow except for a fast part, and having a melody that comes back lots. The document provides teaching outcomes around poetry, music, and composition. It also suggests areas for further exploration like cross-curricular connections, additional musical elements, and technical considerations.
This document outlines a music lesson plan involving a song called "Diddledy Dumpty". It describes dividing students into groups to sing different parts, including an ostinato, canon, chords, and vocal percussion. The lesson aims to teach musical concepts like ostinato, tonality, scales, syncopation, vocal range, instrumentation, and form. It provides exercises, checks for understanding, and suggests extending the activities to further reinforce the learning outcomes.
This document provides warm up exercises and instructions for teaching a song called "Diddeldy Dumpty" using various musical elements and techniques:
1. It begins with warm up vocal exercises singing descending intervals.
2. Instructions are given to form a percussion band and assign different instrumental parts to groups, such as timpani for the bass line.
3. The class is led through singing different motifs and melodies, including an ostinato, and incorporating techniques like canon and clusters.
4. As different elements are added, checkpoints are provided to assess the class's learning. The document outlines further areas of study and learning outcomes addressed in the lesson.
This document provides the lesson plan for a music class that will teach students about different musical elements and compositions through interactive activities. The class will start with singing a question and answer melody using solfege hand signs. Students will then analyze scores and identify the question/answer melody and march melody. They will learn about different animals represented in the music through body percussion compositions and singing passages in mixed meters. The class aims to teach students about musical form, melodies, rhythms, conducting, and performing in groups.
Pdst warm ups for young singers compositionsiobhanpdst
This document provides a series of vocal warm up exercises for adults and young singers. It begins with physical warm ups like shaking out limbs to loosen muscles. It then progresses to exercises using unvoiced sounds, sound effects, and voiced sounds but not specific pitches. Vowels are practiced with gestures to shape them. Diction, body percussion, and beat boxing exercises are also included. The goal is to warm up voices and bodies through creative singing exercises that can also be used for composition.
This document provides 10 suggestions for classroom composing activities: 1) composing pentatonic melodies, 2) layered ostinato pieces, 3) compositions using the Dorian mode, 4) setting scenes musically, 5) composing ringtones, 6) working with graphic scores, 7) composing with chords, 8) creating moods and atmospheres, 9) sound exploration, and 10) incorporating improvisation and arranging existing tunes. The suggestions include restricting compositions to certain scales, building up textures, reinforcing cadences, evoking moods through choice of instruments and motifs, and exploring timbres, intervals, scales and chords.
The document is an anthology of musical pieces commissioned by the Professional Development Service for Teachers. It includes 7 pieces arranged for school music programs and young musicians. The pieces cover various genres and styles, including arrangements of traditional folk songs and popular songs by artists like U2. For each piece, the document provides the sheet music, performance notes, and information on the composer or arranger.
Preview of “remember proofed pb & ab.ppt”siobhanpdst
This document provides guidance for presenters on teaching the song "Remember" based on the poem by Christina Rosetti. It recommends teaching the song over multiple 20-30 minute units to thoroughly cover the musical content. Each unit should provide starting points rather than teaching the full song. The document describes students' positive reactions to different elements of the composer's setting of the poem to music, such as the melody and contrasting sections. It outlines teaching outcomes such as working with poetry and music, compositional elements, solfege, and rhythmic concepts. Further potential areas for exploration are mentioned like cross-curricular connections, technical skills, musical form, and solo opportunities.
This document outlines a lesson plan for students to analyze a poem and song. It discusses having students read the poem "Remember" and describe how they would compose music for it. They then listen to Marian Ingoldsby's song setting of the poem. Students describe the composer's version as soft, slow except for a fast part, and having a melody that comes back lots. The document provides teaching outcomes around poetry, music, and composition. It also suggests areas for further exploration like cross-curricular connections, additional musical elements, and technical considerations.
This document outlines a music lesson plan involving a song called "Diddledy Dumpty". It describes dividing students into groups to sing different parts, including an ostinato, canon, chords, and vocal percussion. The lesson aims to teach musical concepts like ostinato, tonality, scales, syncopation, vocal range, instrumentation, and form. It provides exercises, checks for understanding, and suggests extending the activities to further reinforce the learning outcomes.
This document provides warm up exercises and instructions for teaching a song called "Diddeldy Dumpty" using various musical elements and techniques:
1. It begins with warm up vocal exercises singing descending intervals.
2. Instructions are given to form a percussion band and assign different instrumental parts to groups, such as timpani for the bass line.
3. The class is led through singing different motifs and melodies, including an ostinato, and incorporating techniques like canon and clusters.
4. As different elements are added, checkpoints are provided to assess the class's learning. The document outlines further areas of study and learning outcomes addressed in the lesson.
This document provides the lesson plan for a music class that will teach students about different musical elements and compositions through interactive activities. The class will start with singing a question and answer melody using solfege hand signs. Students will then analyze scores and identify the question/answer melody and march melody. They will learn about different animals represented in the music through body percussion compositions and singing passages in mixed meters. The class aims to teach students about musical form, melodies, rhythms, conducting, and performing in groups.
Pdst warm ups for young singers compositionsiobhanpdst
This document provides a series of vocal warm up exercises for adults and young singers. It begins with physical warm ups like shaking out limbs to loosen muscles. It then progresses to exercises using unvoiced sounds, sound effects, and voiced sounds but not specific pitches. Vowels are practiced with gestures to shape them. Diction, body percussion, and beat boxing exercises are also included. The goal is to warm up voices and bodies through creative singing exercises that can also be used for composition.
Pdst – warm ups for young singers 2 revisedsiobhanpdst
This document provides guidance for warm up exercises for young singers. It outlines 11 sections of vocal warm ups focusing on posture, breathing, diction, range and agility. Exercises include finding good singing posture, physical movements like swinging a golf club or shooting a basketball to engage the breath, shaping vowels, whispering consonant patterns, and question and answer call and response singing. The warm ups are designed to relax students, develop proper breathing and posture, and prepare the voice through gentle exercises before singing.
This document discusses teaching a music lesson about long and short sounds (duration). It includes activities where students sing songs and play instruments to explore long and short vocalizations and rhythms. Key points covered are identifying long and short words in songs, performing rhythms by clapping or with instruments, and learning that combining long and short sounds creates music that fits within a steady beat.
The document discusses using music descriptively to represent different animal characteristics. It provides examples of songs that describe animals like the Firebird, Bellipong, and Gnu through musical elements like tempo, rhythm, pitch, and timbre. It also discusses getting children involved through singing and moving to the music to embody how each animal might sound and move.
Autumn Term 2011 Music Topic for Years 5 and 6. Songwriter covers lots of information about how songs are written - about lyrics, about styles such as blues, about the 12 bar blues structure, etc. We learn about chords and blues scales and we improvise with both.
Preview of “to market pdst with notes final.ppt”siobhanpdst
This document provides guidance for presenting a 20-30 minute lesson on teaching a song. It suggests breaking the song into units that do not aim to teach every note at once. Some sections may need to be taught by rote as a last resort. The presentation includes interactive activities like question and answer singing, body percussion to accompany rhythms, identifying melodies and rhythms in the score, comparing characteristics of pigs and hogs, playing rhythms on percussion, and lists learning outcomes and suggestions for further classwork.
50 simple tunes for the tin whistle (book)Saulo Gomes
This document provides an overview and instructions for using a book titled "50 Simple Tunes for Tin Whistle". The book contains tunes arranged from very simple to more advanced for beginner tin whistle players. It includes explanations of musical notation, the scale, rhythm, and other concepts to help new players learn to read music. The final section lists the 50 tunes included in the book grouped by difficulty level and the range of notes in each group.
This document provides an introduction to learning the basics of playing the piano, including:
- The note names on the piano keys go from A to G, with sharps and flats indicating higher or lower octaves. Correct posture is important for playing well, including sitting up straight with belly button at Middle C.
- After learning note names, students put that knowledge into practice reading music notation. The basic note durations - quarter, half, and whole notes - are explained along with counting beats in a measure.
- A short quiz reviews the letter names on the keys, correct posture, location of Middle C, and counting beats from a time signature. The document concludes by wishing students luck in learning piano basics.
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
This document provides an overview of fundamental piano skills, including:
- Explaining musical notation such as the staff, clefs, notes, measures, and time signatures.
- Describing hand positions for reading music including treble clef, bass clef, and grand staff notation.
- Introducing the first three hand positions a beginner learns: C position, G position, and Middle C position.
- Recommending practice songs to reinforce the concepts.
Autumn Term 2011 Music Topic for Years 3 and 4. Dragon Scales is all about PENTATONIC SCALES - scales with 5 notes. We are extending our learning about PITCH - the music word for high and low sounds.
K TO 12 GRADE 2 LEARNING MATERIAL IN ENGLISHLiGhT ArOhL
This document appears to be a section from an English learner's textbook for grade 2 students in the Philippines. It covers lessons on sounds, the alphabet, and elements of stories. The lessons include identifying sounds in the environment and from transportation, animals, and musical instruments. They also cover the English and Filipino alphabets, beginning letters of words, and elements of a sample story called "The Tenth Hen." Students are asked to listen to sounds, identify objects, answer questions about the story, and learn sight words. The goals are to help students gain skills in phonics, reading, and understanding basic story elements.
In the first week of rehearsals for Les Miserables, the cast learned 5 songs: At the End of the Day, Master of the House, One Day More, Look Down, and Do you Hear the People Sing? The rehearsals involved discussing the story and characters, splitting into vocal parts, and working on harmonies. The document provides details on the narrator's parts in each song and challenges with finding the right vocal range and key. Strengths included picking up harmonies, while an area for improvement was singing at the proper pitch.
This document provides an exercise on the strong and weak pronunciation of prepositions in connected speech. It contains examples of sentences with prepositions pronounced strongly or weakly, as well as questions and answers with prepositions. The rules covered are that prepositions at the end of questions are pronounced strongly, while those in the middle of sentences are usually weak in fast speech. Learners are asked to listen, repeat, and respond to questions using the weak form of prepositions and options provided in boxes.
This document outlines lesson materials for a session on auxiliary verbs. It includes exercises practicing the use of auxiliaries in conversations, contractions, and vocabulary related to education. Students will practice identifying auxiliaries in spoken sentences and conversations. Exercises cover forming questions with auxiliary verbs and using short responses with auxiliaries. Key topics covered are auxiliary verb uses and meanings, emphasis, echo questions, question tags, and short responses.
Jacques rizzo learning to read written jazz music (bb)conrado dangavs
This document provides an overview and table of contents for a self-study text and accompanying audio recording that teaches jazz saxophone students how to read and interpret written jazz music. It contains 79 duets divided into sections by rhythm pattern, with preliminary exercises to introduce each pattern. The goal is to train students to sight-read jazz parts idiomatically through a play-along approach that focuses on articulation and phrasing.
This document is a welcome letter to new band students. It congratulates students on joining band and explains that band allows students to perform a wide variety of musical styles and have exciting musical experiences through regular practice. The letter wishes students the best of success in achieving their musical goals.
This summary provides the high level information from the document in 3 sentences:
The document provides many tips for jazz improvisation, including practicing melodic patterns, scales, and pentatonic scales. It discusses techniques for soloing over chord progressions using chord tones and approaches. Finally, it emphasizes the importance of listening to jazz and practicing improvisation by transcribing solos to internalize jazz language.
The document provides tips for jazz improvisation, including practicing melodic lines using scale patterns, holding chord tones longer, and accenting chord tones when improvising within a scale. It recommends transcribing solos and running licks through the circle of fifths for practice. Additional tips include comping with clusters based on superimpositions of fourths to challenge soloists, practicing pentatonic scales for melodic improvisation, and warming up by playing tunes rather than scales. Recommended resources include magazines, books, and radio shows for jazz pianists seeking to improve their improvisation skills.
This document provides analysis and performance tips for Gounod's piano piece "The Pipers". It discusses the piece's lively and cheerful character inspired by pipers. It recommends a tempo of dotted crotchet equals 120 beats per minute. Fingering, articulation, phrasing, and bringing out the melody are among the technical challenges addressed. The piece requires a steady left hand and fleet fingerwork in the right hand, as well as attention to dynamics ranging from ppp to ff.
This document contains an excerpt from a recorder method book titled "The Yamaha Advantage Recorder Plus". The excerpt includes information about music notation, the four instrument families, fingering charts for notes A through G, and several songs to play on the recorder. It provides instruction on music fundamentals and getting started playing the recorder.
Pdst – warm ups for young singers 2 revisedsiobhanpdst
This document provides guidance for warm up exercises for young singers. It outlines 11 sections of vocal warm ups focusing on posture, breathing, diction, range and agility. Exercises include finding good singing posture, physical movements like swinging a golf club or shooting a basketball to engage the breath, shaping vowels, whispering consonant patterns, and question and answer call and response singing. The warm ups are designed to relax students, develop proper breathing and posture, and prepare the voice through gentle exercises before singing.
This document discusses teaching a music lesson about long and short sounds (duration). It includes activities where students sing songs and play instruments to explore long and short vocalizations and rhythms. Key points covered are identifying long and short words in songs, performing rhythms by clapping or with instruments, and learning that combining long and short sounds creates music that fits within a steady beat.
The document discusses using music descriptively to represent different animal characteristics. It provides examples of songs that describe animals like the Firebird, Bellipong, and Gnu through musical elements like tempo, rhythm, pitch, and timbre. It also discusses getting children involved through singing and moving to the music to embody how each animal might sound and move.
Autumn Term 2011 Music Topic for Years 5 and 6. Songwriter covers lots of information about how songs are written - about lyrics, about styles such as blues, about the 12 bar blues structure, etc. We learn about chords and blues scales and we improvise with both.
Preview of “to market pdst with notes final.ppt”siobhanpdst
This document provides guidance for presenting a 20-30 minute lesson on teaching a song. It suggests breaking the song into units that do not aim to teach every note at once. Some sections may need to be taught by rote as a last resort. The presentation includes interactive activities like question and answer singing, body percussion to accompany rhythms, identifying melodies and rhythms in the score, comparing characteristics of pigs and hogs, playing rhythms on percussion, and lists learning outcomes and suggestions for further classwork.
50 simple tunes for the tin whistle (book)Saulo Gomes
This document provides an overview and instructions for using a book titled "50 Simple Tunes for Tin Whistle". The book contains tunes arranged from very simple to more advanced for beginner tin whistle players. It includes explanations of musical notation, the scale, rhythm, and other concepts to help new players learn to read music. The final section lists the 50 tunes included in the book grouped by difficulty level and the range of notes in each group.
This document provides an introduction to learning the basics of playing the piano, including:
- The note names on the piano keys go from A to G, with sharps and flats indicating higher or lower octaves. Correct posture is important for playing well, including sitting up straight with belly button at Middle C.
- After learning note names, students put that knowledge into practice reading music notation. The basic note durations - quarter, half, and whole notes - are explained along with counting beats in a measure.
- A short quiz reviews the letter names on the keys, correct posture, location of Middle C, and counting beats from a time signature. The document concludes by wishing students luck in learning piano basics.
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
This document provides an overview of fundamental piano skills, including:
- Explaining musical notation such as the staff, clefs, notes, measures, and time signatures.
- Describing hand positions for reading music including treble clef, bass clef, and grand staff notation.
- Introducing the first three hand positions a beginner learns: C position, G position, and Middle C position.
- Recommending practice songs to reinforce the concepts.
Autumn Term 2011 Music Topic for Years 3 and 4. Dragon Scales is all about PENTATONIC SCALES - scales with 5 notes. We are extending our learning about PITCH - the music word for high and low sounds.
K TO 12 GRADE 2 LEARNING MATERIAL IN ENGLISHLiGhT ArOhL
This document appears to be a section from an English learner's textbook for grade 2 students in the Philippines. It covers lessons on sounds, the alphabet, and elements of stories. The lessons include identifying sounds in the environment and from transportation, animals, and musical instruments. They also cover the English and Filipino alphabets, beginning letters of words, and elements of a sample story called "The Tenth Hen." Students are asked to listen to sounds, identify objects, answer questions about the story, and learn sight words. The goals are to help students gain skills in phonics, reading, and understanding basic story elements.
In the first week of rehearsals for Les Miserables, the cast learned 5 songs: At the End of the Day, Master of the House, One Day More, Look Down, and Do you Hear the People Sing? The rehearsals involved discussing the story and characters, splitting into vocal parts, and working on harmonies. The document provides details on the narrator's parts in each song and challenges with finding the right vocal range and key. Strengths included picking up harmonies, while an area for improvement was singing at the proper pitch.
This document provides an exercise on the strong and weak pronunciation of prepositions in connected speech. It contains examples of sentences with prepositions pronounced strongly or weakly, as well as questions and answers with prepositions. The rules covered are that prepositions at the end of questions are pronounced strongly, while those in the middle of sentences are usually weak in fast speech. Learners are asked to listen, repeat, and respond to questions using the weak form of prepositions and options provided in boxes.
This document outlines lesson materials for a session on auxiliary verbs. It includes exercises practicing the use of auxiliaries in conversations, contractions, and vocabulary related to education. Students will practice identifying auxiliaries in spoken sentences and conversations. Exercises cover forming questions with auxiliary verbs and using short responses with auxiliaries. Key topics covered are auxiliary verb uses and meanings, emphasis, echo questions, question tags, and short responses.
Jacques rizzo learning to read written jazz music (bb)conrado dangavs
This document provides an overview and table of contents for a self-study text and accompanying audio recording that teaches jazz saxophone students how to read and interpret written jazz music. It contains 79 duets divided into sections by rhythm pattern, with preliminary exercises to introduce each pattern. The goal is to train students to sight-read jazz parts idiomatically through a play-along approach that focuses on articulation and phrasing.
This document is a welcome letter to new band students. It congratulates students on joining band and explains that band allows students to perform a wide variety of musical styles and have exciting musical experiences through regular practice. The letter wishes students the best of success in achieving their musical goals.
This summary provides the high level information from the document in 3 sentences:
The document provides many tips for jazz improvisation, including practicing melodic patterns, scales, and pentatonic scales. It discusses techniques for soloing over chord progressions using chord tones and approaches. Finally, it emphasizes the importance of listening to jazz and practicing improvisation by transcribing solos to internalize jazz language.
The document provides tips for jazz improvisation, including practicing melodic lines using scale patterns, holding chord tones longer, and accenting chord tones when improvising within a scale. It recommends transcribing solos and running licks through the circle of fifths for practice. Additional tips include comping with clusters based on superimpositions of fourths to challenge soloists, practicing pentatonic scales for melodic improvisation, and warming up by playing tunes rather than scales. Recommended resources include magazines, books, and radio shows for jazz pianists seeking to improve their improvisation skills.
This document provides analysis and performance tips for Gounod's piano piece "The Pipers". It discusses the piece's lively and cheerful character inspired by pipers. It recommends a tempo of dotted crotchet equals 120 beats per minute. Fingering, articulation, phrasing, and bringing out the melody are among the technical challenges addressed. The piece requires a steady left hand and fleet fingerwork in the right hand, as well as attention to dynamics ranging from ppp to ff.
This document contains an excerpt from a recorder method book titled "The Yamaha Advantage Recorder Plus". The excerpt includes information about music notation, the four instrument families, fingering charts for notes A through G, and several songs to play on the recorder. It provides instruction on music fundamentals and getting started playing the recorder.
The document is the April/May 2013 issue of Music Matters, a music magazine from St. John's Prep School. The main stories include: the choir's upcoming trip to Scotland in June; the editor's experience watching a koto performance in Japan; and a feature on music teacher Mr. Richard Bateman who teaches drums and enjoys forming student bands. It also previews upcoming musical events in London and profiles singer Taylor Swift, discussing her beginnings in country music and rise to fame.
Gypsy Jazz Student Lesson Fast Improvisation Tools 7Gypsyjazz Student
Gypsy Jazz Student’ fast improvisation tool guide is here for you to teach which cord is to use and why and when? This handy guide came as knight shinning armor for those who love this realm and wishes to improve so that they could do wonders for the world!
Ultimate Scale Book - Total Guitar Magazine.pdfEulimarTiburcio
Um resumo completo de todas as formas de escalas mais úteis e utilizáveis em várias posições, incluímos dicas de solos, um pouco de teoria musical, além de algumas folhas de acordes e exercícios de tablatura para experimentar as escalas.
The document provides instructions for learning how to play guitar using a method written by Stefan Schyga, covering topics such as tuning the guitar, basic music notation, exercises to learn notes on each string, rhythmic concepts, and several beginning guitar pieces. The method is intended for adult learners who have no prior guitar experience and teaches the fundamentals of classical guitar playing in an effective and interesting manner through lessons and accompanying audio files.
This document provides instructions for learning how to play guitar using a method written by Stefan Schyga. It includes lessons on tuning the guitar, basic music notation like notes, rests, and rhythms, and exercises to practice various techniques. The method aims to teach the fundamentals of classical guitar in an effective and interesting way for adult learners. It includes over 25 lessons covering topics like reading music, scales, chords, and selected classical guitar pieces. Audio files are provided to help with tuning and checking progress.
The document summarizes learning about rounds in a music class. It introduces the concept of rounds, has students learn and perform the round "The Human Drum Kit", discusses entry points and different versions of the round "Autumn Leaves", and teaches a new round "Shalom" which students perform in multiple parts while accompanying it with a drone chord and ostinato patterns.
Please find Refrenced sources in the footnotes the links will be below-
Thurston Moore Interivew - https://www.youtube.com/watch?v=BZpBe0cyHE4
Current Joys -Nick Rattigan Writing Style (interview)- https://soundblab.com/interviews/20149-interview-current-joys
(145) Sonic Youth - Do You Believe In Rapture?- https://www.youtube.com/watch?v=y4RdKzzTU8E
h2g2 - Nick Drake - Singer/Songwriter - Edited Entry - https://h2g2.com/edited_entry/A662924#conversations
"Title Fight Floral Green Review"-https://www.bbc.co.uk/music/reviews/nfrj/
Midi Source - https://blog.landr.com/what-is-midi/
Lee Ranaldo - Kit tour - https://www.youtube.com/watch?v=tVMo4F2H0dY
Blaze Foley – Clay Pigeons Live - https://www.youtube.com/watch?v=uM3YROq_cLY
This document provides an archived score of overdub recordings for the piece "Hills of Jerusalem" by Meir Michel Abehsera. It details the extensive layering and doubling of instrumental parts through multiple overdub passes to create a fuller orchestral sound than was physically possible with the actual musicians. It lists all musicians who performed on the recordings and provides a breakdown of their parts and instrumentation.
This document provides chord shapes for various jazz guitar chords. It begins with movable 7th chord shapes including major 7, dominant 7, minor 7, and others. It then covers dominant 7th chords with alterations and guide tone chords. The document concludes with exercises using quartal voicings and diatonic chord progressions. It aims to be a resource for jazz guitarists to learn chord voicings and apply them musically.
The recorder is an ancient woodwind instrument that is inexpensive and easy for both children and adults to learn. It comes in various sizes from soprano to bass. Learning recorder helps develop music skills like reading notation, coordination, and following rhythm that can transfer to other instruments. Recorder can be used for solo playing, but is also suited for ensembles and orchestras with groups of various sized instruments playing together. Regular practice is important to develop proper technique and more advanced skills over time on the recorder.
This booklet is designed to give you the basics which you will need in order to learn the art of improvising in
music. Many feel that people who improvise or play jazz are special. If they are special, it is because they have
spent their time wisely learning the tools of the trade. A few of the tools are: scales, chords, patterns, licks, songs
(standards and originals), training the ear, listening to records of jazz greats and any other thing which they feel
will contribute to the growth of a well-rounded musician.
I feel it is good to establish a practice routine, especially for those of you who are new to learning the language
of jazz. To play jazz requires discipline, and discipline is good for all of us.
The language of jazz or the jazz idiom is in a constant state of flux. In order to be a part of the jazz movement
one must accept change. Jazz has changed greatly over the past 70 years and is presently in transition. Each
generation of jazz musicians contribute their own unique ideas, feelings, and sound to the music and this is what
creates the change. If you equip yourself well, you may be one of those people who influence others and set new
trends in jazz.
If you want to get it all together, I suggest reading each of the pages in this booklet very carefully. Mark with pen
or pencil points that you feel are important so when you flip through the pages In the future your eye will catch
them. Listen, listen, listen carefully to anyone playing jazz or improvising. You can learn much from live performances as well as records. Start a record collection and listen to what has been recorded over the past 85
years. You are in for a treat!
Spend your practice time wisely. Don’t play things over and over that you can already play. This is great for the
ego but does little to advance your musical progress. Be patient with yourself. Don’t expect everything to come
at one setting. They say that things come to us when we are ready to accept them. A healthy mental state is also
responsible for progress when practicing.
Gradually train your ears to really HEAR music and all of the components that make the final product. Read the
pages on Ear Training carefully and institute a daily routine to improve your perception. There are also other
pages that help spell out an excellent practice routine.
Since most of us do not have a good rhythm section at our disposal, I recommend practicing and soloing with the
play-a-long records. Each volume contains a book and one or two CDs. Many professionals use these recordings
to warm-up, keep in shape, practice new patterns or licks, or to learn new songs and improvise on the chord/
scale progressions.
During the past 43 years, many private teachers as well as high school and college teachers have made the
recordings part of their daily or weekly teaching assignments.
This document provides a repertoire list for graded clarinet examinations from Grades 1 through 8, as administered by LCM Examinations. It outlines the technical work, pieces, and other components required at each grade level. The technical work includes scales, arpeggios, and studies. Pieces are divided into lists and come from method books, solo collections, and the classical and folk repertoire. Components also include viva voce questions, sight reading, and aural tests. The document provides guidance on preparation for LCM clarinet exams and is valid from 2006-2010.
Gypsy Jazz Student is the best site for a guitar\jazz\gypsy jazz student will get tips, guidelines for the students like YOU from the music of Django Reinhardt. Click For More : http://bit.ly/2d1nzFt
This document provides information about learning how to play guitar using a method by Stefan Schyga. It describes Stefan's background and qualifications, as well as an overview of the guitar method. The method is intended for adult learners who want to learn classical guitar and covers topics like choosing a guitar, tuning, basic music notation, notes on each string, rhythms, key signatures, and includes musical selections. It aims to effectively teach the basics of classical guitar in an interesting manner.
This document provides an overview and contents of the "Classical Guitar Method - Volume 1" book by Bradford Werner. It includes instructions on how to use the book, which is designed to teach classical and fingerstyle guitar skills through pieces and duets. The book covers notes, rhythms, scales, chords, and technique exercises in a progressive manner from absolute beginning level to more advanced concepts. It also provides advice on practice techniques, hand positions, and using the free supplemental video lessons available online.
The Nuremberg rallies, final draft, 2 march 2015 (2)siobhanpdst
The document provides background information and teaching resources for exploring the Nuremberg Rallies case study, including an overview of the rallies from 1933-1938, how to structure lessons around an inquiry question, and how the activities link to literacy and numeracy strategies. Glossaries, timelines, sources, and discussion questions are included to help students analyze propaganda techniques and think critically.
Research skills complete booklet 08 nov2011siobhanpdst
This document provides guidance for teachers on developing students' research skills in history classes at junior cycle, transition year, and leaving certificate levels in Ireland. It outlines the research study component of the leaving certificate history syllabus and provides suggestions for teachers on helping students improve their skills at each stage. This includes locating and critically examining sources, developing structured written responses, and preparing for the leaving certificate research study requirements of producing an outline plan, evaluating sources, and extended essay. Sample exemplar materials and marking schemes are also included for reference.
Water comes from rainfall and is treated through processes like settling, filtering, softening, chlorination and fluoridation before being piped into homes. The water supply enters homes through main pipes and service pipes, with the freshest water coming from the cold kitchen tap. Other taps get water from a storage tank, usually in the attic. Hard water can cause issues like limescale but tastes better, and is softened through adding chloride of lime during treatment.
The document discusses the concept of the work triangle. The work triangle refers to the three key elements needed to complete any task: tools, materials, and people. These three elements must be present and work together effectively for a job to be finished successfully.
This document discusses home safety and common accidents that occur in the home. It provides information on preventing accidents such as falls, burns, cuts and poisonings. Safety tips are provided for fire safety, medicine storage, and first aid treatment for minor injuries. The most important aspects of first aid for serious injuries are also outlined, such as calling for help, checking breathing and pulse, and treating for shock. A well-stocked first aid kit is recommended.
This document describes various features that may be included in kitchen appliances such as cookers and ovens, including dual grill/rings that allow using half the cooking area, double ovens with a main oven and top oven, automatic timers to turn ovens on and off, fan ovens that circulate heated air, ceramic hobs with heat-resistant glass tops, halogen rings that heat instantly, self-cleaning ovens, split-level cookers where the hob and oven are separate, and ignition buttons to light gas hobs instead of matches.
Good lighting is important for safety, hygiene, and preventing eye strain. A home uses both natural lighting from windows and skylights as well as various artificial lighting such as incandescent, fluorescent, and compact fluorescent bulbs. Proper lighting safety involves using the correct bulbs and fixtures, adequate lighting for tasks, and switches located outside of danger areas like bathrooms. When replacing a light bulb, one should turn off the power first, allow an old bulb to cool, fit a new bulb of the correct wattage, and test that the light works.
The document discusses hygiene standards in the home, including ensuring clean water and efficient drainage, good ventilation and lighting to prevent dampness, easily cleanable surfaces and rooms, careful waste disposal, and regularly disinfecting sinks, toilets and drains. It also notes there are two types of household waste - organic waste that breaks down naturally and inorganic waste that does not break down but can be recycled.
Central heating, partial/background heating, and individual heaters are three common methods of heating a home. Central heating uses a boiler to heat water that circulates through radiators to keep the home between 16-20 degrees Celsius, and also provides hot water. Partial/background heating uses electric storage heaters to provide gentle background heat. Individual heaters heat each room separately using methods like a fireplace, stove, or electric heater. Proper insulation is important to prevent up to 75% of heat loss through walls, roof, windows, doors and floors using materials like still air, wool, or polystyrene that are poor conductors of heat.
Electricity is generated at power stations from sources like coal, oil, peat, and water. It is distributed to homes through cables and consumer units, then brought to appliances via wires in plugs and flexes. Most appliances have three wires - a live wire (brown) bringing electricity to the appliance, a neutral wire (blue) taking the return current, and an earth wire (green/yellow) that brings current safely to the earth if a fault occurs. Fuses and circuit breakers are safety devices that melt or disconnect electricity in the case of overloading or short circuits to prevent fires.
This document discusses key aspects of home design, including:
1. A home provides physical needs like shelter as well as emotional and social needs.
2. Housing types are influenced by factors like cost, size, and location, and include houses, apartments, bedsits, and mobile homes.
3. Good design is functional, safe, durable, and attractive. Design elements include color, texture, line, shape, and pattern which impact the atmosphere.
The design process involves 7 steps: 1) Identifying the brief to design a bedroom/study for a teenager, 2) Analyzing the brief to determine what must be included, 3) Researching interior design ideas through books, magazines, and store visits to collect samples, 4) Identifying possible furniture layouts, color schemes, and flooring and heating options, 5) Choosing a final solution after considering all options, 6) Creating a scaled floor plan drawing, and 7) Presenting the final plan with details of the color scheme, furnishings, flooring, lighting, and heating system.
The design process involves identifying the brief, analysing it through research, and choosing a solution to implement through planning and taking action.
This document contains a word search, matching exercises, fill-in-the-blank questions, and true/false questions about various fruits including apples, oranges, bananas, grapes, peaches, kiwis, pineapples, plums, pomegranates, lemons, strawberries, nectarines, and berries. The questions test identification, properties, and grouping of different fruits.
The document is a worksheet asking students to name animals that produce milk, types of milk, uses of milk and their examples, and to outline the pasteurization process, nutritional value, and homogenization of milk. The student must name cows, goats, sheep, and humans as milk producing animals and list six types of milk, four uses of milk with examples, and describe homogenization. It also asks the student to discuss why milk is good for teeth and the nutritional value of milk.
The document provides guidelines for using a skin poster to teach students about the structure and composition of skin. The poster will be used to help students identify and label the different components of skin, as well as define the functions of each component. The teacher is instructed to introduce the topic enthusiastically, point out each skin component on the poster and explain its function. Labels will then be placed over the components for students to identify, after which the teacher will check students' understanding by asking questions about the skin's structure.
This document contains questions about the structure and functions of skin. It tests knowledge about skin layers like the epidermis and dermis, parts like sweat glands, hair follicles and pores, and how diet and sun exposure impact skin health. Multiple choice and fill-in-the-blank questions cover topics like what foods are good or bad for skin, the role of sweat glands, and describing skin layers, cells, and other anatomical features.
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
2. Musical Journey Anthology
Introduction
The Musical Journey Anthology has been commissioned as an educational and musical
resource for creative music practitioners who work in second level schools and in the wider
musical community.
The Anthology is a collection of musical possibilities reflecting just some of the many
instrumental tastes, interests and activities in school music making.
We hope practitioners and young people alike will enjoy these possibilities offered in this
musical journey!
Contents
Piece 1: Hard times here again no more: Foster/Daniel Dunne (C Major version).
Dunne/ PDST.
Piece 2: Hard times here again no more: Foster/Daniel Dunne (D Major version).
Dunne/ PDST.
Piece 3: Classroom Concertino: Michael Cummins. Cummins/ PDST.
Piece 4: Circle, Pattern, Line: Jonathan Nangle. Nangle/ PDST.
Piece 5: With or Without You: U2/Sue Furlong. Music by U2. Words by Bono. Published
by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK), Mother Music
(Irl.). Furlong/ PDST.
Piece 6: With or Without You: U2/Darragh O'Toole. Music by U2. Words by Bono.
Published by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK),
Mother Music (Irl.). O'Toole/ PDST.
Piece 7: Piece: Marian Ingoldsby. Ingoldsby/ PDST.
Commissioned by the Professional Development Service for Teachers (PDST) in
partnership with Music Generation and the County Cork School of Music.
3. Index of Scores
Hard times here again no more (C Major): Foster/Daniel Dunne! ! Page 4
Hard times here again no more (D Major): Foster/Daniel Dunne! ! Page 11
Classroom Concertino: Michael Cummins! ! ! ! ! Page 17
Circle, Pattern, Line!: Jonathan Nangle! ! ! ! ! ! Page 58
With or Without You: U2/Sue Furlong! ! ! ! ! ! Page 69
!
With or Without You: U2/Darragh O'Toole! ! ! ! ! Page 95
!
Bach meets Mozart and Friends: Marian Ingoldsby! ! ! ! Page 107
62. | circle |
becomes a
| pattern |
which contributes to forming a
| line |
63. circle/pattern/line
How to Prepare your Part
1) Choose one of the two pages featuring a diamond shaped score.
The score can be turned through 180˚; either orientation is valid as there are no clefs
2) As a group choose 6 notes that will form the harmony of the piece, numbered 1-6,
from low to high, for example
3) Each circle is notated on a 6-line stave
64. 4) Performers use the 6-line stave as a key to ordering the harmonic material
5) Each performer chooses their own route through the score
6) By following these steps, each performer will produce their own
performance part
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2 4
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2 4
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5 6
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4 1
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2
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6
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3 5
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6 1
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4
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5
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2 3
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3 2
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circle / pattern / line
Jonathan NanglePerformance Score
ª
65. Performing the Piece
One or more players provide a steady, rhythmic pulse that starts and ends the
piece. This could be on a drumkit or other un-pitched percussion instrument(s) or
could be one or more pitches played steadily on a tuned percussion
instrument(s).
Each player performs from the score they prepared in advance.
Parts are rhythmically free, while adhering to the rhythmic pulse.
Players can perform each circle either clockwise or anti-clockwise, and are free to
change direction at any time.
Each player repeats their circle until cued to either stop or move onto their next
selection.
The conductor cues each player to begin and end a circle, thus crafting the overall
structure of the piece.
96. With Or Without You
(how to use this score)
This arrangement is designed to be as adaptable and flexible as possible. There are
suggestions here to help to steer various approaches to performance based on the
number of players and variety of instruments available.
The overall approach is that the performance should be fun, exciting and all-
inclusive. The structure is built on simple rhythmic figures working together, and
this includes body-percussion parts, such as hand-claps and foot-stomps, so that
even students who do not play an instrument can get involved. In fact, the more the
merrier.
Explanation of Score & Parts:
All transposing instruments are written in C in the score. But the individual parts are
transposed correctly for each instrument.
The staves are numbered instead of being named for specific instruments. So, for
example: the first staff line is no.1 and this is the melody. Staves 5,6,7 & 8 are
percussion lines, etc.
Below is a detailed description of how to use each line. Again, the numbers
correspond to each staff line.
Line 1.
This is the melody and therefore requires the most consideration. It is not the
intention that all instruments play from beginning to end, but rather it is an
opportunity for the teacher and students to experiment with blend and tone colour
using the instruments they have available. For example, the first verse could be
played by woods (or one section of the woods) or recorder alone, then at the chorus
the brass could join in or perhaps take over, etc.
This approach should be experimented with throughout the piece. Of course as the
dynamic level increases it will eventually require all instruments playing in unison in
order to maintain a strong melodic presence, when this happens is, yet again, a
choice to be made once the ensemble has got a sense of their own overall balance.
N.B The melody line is written in it's entirety in each of the individual parts. It is up to the teacher to
instruct each player when they are to play and when they are to rest.
Woodwinds/Brass/Recorder
97. Line 2.
This is the melody an octave lower (with the exception of the section titled Bridge
Pt.2 (rehearsal mark G) where it fulfils it's own harmonic role). It is particularly
useful as reinforcement when the dynamic level gets louder. Like line 1. It is up to
the individual ensemble to decide when it is best employed and in which particular
instrumental grouping.
Lines 3 - 4.
The strings are divided into a treble clef and bass clef in the score but the parts are
given individually as Violin 1, Violin 2, Viola and Cello. Although the Viola and Cello
parts will help to make the sound fuller they are not essential. And if there is an
abundance of violins but no violas, a section of violins can easily play the viola part
if the sound needs to be filled out.
Lines 5-8: percussion
This is where there is considerable room for creativity. The following are
suggestions for each line depending on the numbers available, but as long as each
line is performed clearly and distinctly, all manner of found percussion can be used.
Line 5.
If there is a reasonably sizeable number of students available to perform in each
percussion section then the most recommended approach to this line would be
using hand tapping. That is, as opposed to clapping where both hands move
towards each other, this should be performed the following way: one hand is held
stationary at a comfortable angle and is then patted with the other hand. This can
become clapping later on in the song if it is being completely drowned out as the
dynamic level increases. But this line should never be louder than lines 6 or 7.
There should be a very slight accented feel on every crotchet beat if possible.
With smaller groups a hi-hat, or side drum with brushes may be used. Or try
experimenting with different surfaces and objects.
When using hand-taps or multiple surfaces and instruments, it is important to strive
for a crisp defined sound. If too much of a flam sound occurs the whole piece will
sound muddy and ill-defined.
Woodwinds/Brass
Strings
Percussion 1
98. Line 6.
This should be performed with hand-claps (and/or a side drum with sticks). It should
be strident and enthusiastic. Yet again, other 'found' objects can be used if you wish
to make it distinctive or unusual.
Line 7.
This should have as equally an enthusiastic feel as line 6. It can be played using any
low unpitched percussion instrument, such as a low tom or a small bass drum.
Foot-stomps would also work if they are not too tiring for the performers (or they
could perhaps be added over the bass drum or tom towards the climax of the piece
to create some drama.) Yet again other objects may be used, as long as they
produce a deep, percussive sound.
Line 8.
This line is completely optional as it may too difficult to perform at certain levels.
Ideally it should be played by a competent performer shaking a tambourine. Or if it
can be done without sounding too harsh or mechanical, a mounted tambourine (or
similar) can be hit with sticks.
Line 9.
As the name would suggest, an electric bass is most suitable for this line. But in the
absence of a bass guitar a keyboard with bass sounds would work perfectly well.
Other than that a second piano may be used (transposed down an octave). Or if
there is only one piano/keyboard the performer playing the piano part should
maintain the eight-note bass line throughout, ignoring the left hand piano part as it
is written, and if they find it manageable should also play in octaves from the point
where the electric bass would have made its entry.
Piano.
The piano part is ideally suited for the teacher to play while guiding the performers
as it introduces the tempo. It also doubles with other instruments when they have to
Percussion 2
Percussion 4
Electric Bass (or other)
Percussion 3
99. play slightly trickier timings. That said, if there is a capable student they may play
the part and free up the teacher altogether.
In addition: if there are multiple keyboards available, a pad or string sound can be
used to double up with the real strings, and the rapid, repeated right-hand figure on
the piano at rehearsal mark C could be played using a light chime or bell sound (and
could even be introduced again over the bridge or final chorus).