Musical Reading And Writing

Par RADLEY ROBERTA. Ear player, schooled musician, or somewhere in between — this book will improve your ability to transcribe music, and help you make the connection between the music you hear and what it looks like on the page. This book defines a step-by-step process, the “ABCs,” toward achieving the goal of seeing what you hear, and hearing what you see. A simple formula is used for this process: Listening (ear training) + Analysis (brain training) = Successful Transcription. Throughout this book you will participate in a variety of listening, singing, playing, reading and composing activities, all designed to prepare you for the ultimate goal of writing down musical ideas — creating a finished transcription. The heart and soul of this book is transcribing “real music” examples. Throughout the book you’ll be working with over 300 songs from almost every musical genre. Teachers will find hundreds of pages of helpful ideas here that will augment your ear training instruction. / Methods & Tutors / Solfège/Formation Musicale / Tout Instrument

Learning to read music is much like learning a language. There are three basic elements: listening, reading, and writing. This well-organized book provides step-by-step sequential lessons for developing these skills. Rhythm, note, and interval concepts are taught in the following way: first, hear and echo a short musical example - second, read and perform a notated exercise - and third, notate musical phrases as demonstrated on the CD. Worksheet-style student pages are included as reproducible PDFs. Ten-minute activities for teaching or assessment, recommended for 4th through 9th grade ensembles or music classes. / Tout Instrument

Beginning Notation and Sight-Reading for All Instruments-Rhythms are certainly the largest challenge in reading and writing music. This book makes learning to read and write rhythms easy teaching you in a step-by-step method starting from the very basics.Supported by recordings of the exercises and worksheets that help you practice the material you will have all you need to learn quarter note eighth note and triplet eighth rhythms including syncopations. Whether you are an experienced musician who has never learned notation a total beginner a vocalist or student of any instrument or interested in playing or composing any style of music with The Rhythm Book you can build a solid foundationin reading and writing rhythms.

A resource book on how to develop comprehensive musicianship regardless of technical skill or musical aptitude. Creative activities spiral upward in a logical sequence.

A Holiday Musical That Will Keep You Awake!-Grab your pjs and pillows - the cousins are coming for a holiday sleepover! But when sleepiness begins to take over the toys decide it's time to 'liven' things up. Join the merriment with dancing dolls disco bears marchingsoldiers somersaulting rag dolls and a special visit from the jolly red fella himself! Discover that it's never too late to start spreading peace and goodwill. Designed for young performers in the primary grades this delightfulmusical features five original songs clever rhyming dialog easily adaptable to casts of varying sizes simple movement and helpful production tips to help stage a successful performance especially when time is limited. 'Livenup' holiday spirit in your school this December with another spectacular show from the popular writing team of John Jacobson and John Higgins! Available: Teacher Edition Reproducible Pak (vocals dialog lyric sheets) Preview CD(with vocals only) Preview Pak (Prev. CD and sample pages) Performance/Accompaniment CD and Classroom Kit (Teacher Repro Pak P/A CD). Performance Time: approx. 25 minutes. For Grades K-3.

A Musical Voyage Through the Lines and Spaces-The short lively and easy-to-master selections in this book offer beginning piano students musical experience that is entertaining as well as rewarding. Each selection in this companion book to the Robert Pace Keyboard Series reinforces concepts of the core books including: · Practice in line space and pattern recognition; in performance of basic rhythms; and in indentification of these rhythms both by sight and by sound; · A sparking of the student's imagination as the student is guided to expand upon each piece in this collection and create his or her own improvisations and compositions; · Lasting fun becasue the reinforcement of reading writing and listeningskills supports ongoing musical learning and enjoyment. The CD provides many helpful functions including modeling the music providing ensemble playing experience and tracks in various tempos for practice and performance.

8-9 ans : dans cette cinquième tome de la série, le programme de l'année 4 est structuré de même à celui de l'année 3. Conçu pour consolider et élargir les compétences, de connaissances et de compréhension, une fois de plus il existe un accent particulier sur l'acquisition de compétences. Attentifs à l'expérience de la gamme de programmes nationaux, les caractéristiques particulières de ce livre sont : le développement progressif de vokal et de techniques instrumentales, d'un module en mettant l'accent sur une approche structurée de la lecture et la musique de l'écriture, la connaissance et la compréhension de la musique placé dans un contexte historique, une production musicale. / Divers

Edition no.: BVK 2270ISBN: 9783761822708Volume / Series: Documenta musicologica II/45 / Bärenreiter FacsimileEditor: Konrad, UlrichLanguage(s) of work: English, GermanProduct format: FacsimileBinding: Half-leather bindingPages / Format: 405 S. - 41,7 x 30,0 cm 'This Tristan will be something formidable! This last act!''I fear the opera will be banned ' if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.'Richard WagnerWhile working on the score to 'Tristan und Isolde', Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the 'dawn' of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting.He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner's highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness.In time for the 200th anniversary of Wagner's birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches.Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions