Professional Documents
Culture Documents
February 1991
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PREFACE
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ii
CONTENTS
APPENDIX D. E. F. Form in Music Page with List of Terms . . . . . . . . . . . . . . . . . . . . . .. AD-1
iii
APPENDIX D
form or structure.
what he has to say in a manner which will to understand the music, especially
than a minute or so. and variety: meaningful unity to impress the than
round rather
interest,
to relieve
boredom, and to
either
exact
or modified,
of a
or by using
the orginal
transformation Repetition
is two-fold:
phrases, parts
meaningful
AD-1
of a motive.
The significant
aspects
or qualities
may be varied
by extension (a-b-c-d
by contraction contraction
by extension and
(a-b-c-d
becomes a-b-b-c,
and in addition
the interval
fifth, becomes
or by inversion systematically
increasing
or decreasing
the interval.
The direction
of the melodic
AD-2
This may be changed by augmentation value, or in some other multiple or some other fraction,
(all by
notes in
of it);
notes
in half,
or omitting,
or shortening
5. Transposition. appear on any degree, purpose. Phrases may be built These may overlap, necessity,
The motive,
or any of its
variations
may
to the musical
on a succession
of variants
of the motive.
to the length
or to that of a line
through four measures of moderate tempo, but phrases are not infrequent. or less finality, depending
as a whole.
AD-3
Period.
The period
(first)
cadence,
but this
alike,
met with occasionally. Chain of phrases. structure, Frequently a larger loosely part is built organized up, not in period chain of phrases, show elision
by cadences,
of the cadence (the last chord of the next) progression interrupted; value).
chord of one phrase is used as the first of the cadence (the harmonic
or dissolution
of a cadence,
Phrase chains
are frequent
of sonatas by
AD-4
MUSICAL FORMS The combination and interesting into types, of the various constitutes elements of music into understandable musical form. Much music falls to
structures
or musical
names; and a knowledge of these names and of the they represent is essential to well-rounded
patterns
musicianship. However, it must be understood formulas. While from the standpoint if musical compositions that these are forms and not analysis it would
be convenient categories,
in clearly
defined A
with no overlapping,
genuine composer uses set forms only to own purposes, creating and has no hesitation
with his
in modifying
existing
forms or
new ones.
AD-5
broad classification
homophonic (one-voiced)
in divisions
of one prominent voice, which are subordinate and one or more voices,
the melody,
accompanied by other
voices bass,
in the voices,
defined,
and the musical meaning is made apparent by the voices. if The differences various will become more and if this he
of the various
apparent to the student becomes familiar Homophonic forms. and large rather forms,
he analyzes
examples,
chapter.
small forms
of structure,
than on absolute
AD-6
up of parts,
which are simple in structure These are arranged intwo song form (A,B,A.) so that a and
or phrase-chain.)
song form (A,B) and the three-part to the parts for identification,
are applied
of one idea which ends away from the tonic to the tonic and so achieves by a
In three-part
part (B) with a return to the original form either ends in the tonic, the orignal
or leads,
parts
small
the large
form represents
organization.
For example,
a rondo may have the form A-B-A-C-A-D-A, and the other parts may be
form, a-b-a,
song form, A-B song form, A-B-A A-B (or A-B-A); C-D (or C-D-C); A-B (or
AD-7
large
small rondo A-B-A old (or second) new (or third) rondo A-B-A-C-A-D-A rondo A-B-A-C-A-B-A
Sonata-allegro: exposition-development-recapitulation. The sonata and the suite (typically four) are forms made up of two or more form. detail In the
All forms mentioned above are discussed list of terms to follow, Polyphonic forms. combining melodies. (many-voiced) exclusively voice After music. from the before Counterpoint
of composition
(shortly a period
the entire
19th centuries;
characteristic
AD-8
Certain
musical
structures
have emerged which are called the canon, the motet, and the chorale
prelude,
for instruments.
Occasionally
a fugue is used as a movement in a sonata or a symphony, of Mozart's C major (Jupiter) Symphony. in some detail Each in
in this
paragraph is discussed
which follows.
LIST OF TERMS This list contains a brief discussion or identification form. of many
with musical
Allemande:
moderately
fast,
usually
with
A piece
of sacred
churches,
accompanied by the organ and may contain and concerted passages for solo voices
(duets,
AD-9
Aria: develops
A solo
song,
occurring lyrics
in an opera, or emotional
oratorio,
which
a dramatic,
high point
of the
of the entire
first
reason,
it was frequently
including
of both declamation
and expressive
of solo
resembling
treatment to be
characteristic
of the recitative,
is likely
something of the symmetry and key unity Wagner's music dramas make wide use of
Literally, to short
by Beethoven
AD-10
Ballad,
(1) A simple
(2) A narrative
four ballades
piano are examples. Basso ostinato: which a bass-line Literally, an obstinate bass. A variation form in with pieces
as one section
of a larger
work, for example in measures 118 through 128 of the last symphony of Brahms. the movement of music, is put into effect usually at the end
of a phrase. following
devices: The final chord of the cadence, long. melody note of the cadence is an or at least the
comparatively
AD-11
final frequently
In
may be true,
(4) Chord Procession: such as to give the feeling Types of cadences: important progression: (1) Perfect position, authentic
of the cadence is
effect
is so
that cadences
to harmonic
cadence:
cadence:
cadences
closes. authentic
cadence:
AD-12
(4) Half cadence: Half cadences may also (5) Deceptive half-cadence, authentic
of minor keys.
(or interrupted)
cadence,
chord turns out to be some chord V-VI; V-IV). in which each of the subject) adopted forms
the parts
in turn presents
melody (called
strictest
three voices
A canon 4 in 2 is for four voices, Canons may also be described by the distance beginning (fifth, etc.) A canon which returns infinite canon. to its
of the subject
and the
starting
point
is a perpetual is a finite
or canon.
close
AD-13
Imitation contrary
may be direct,
be in inversion,
(or
motion),
in augmentation, independent,
in diminution,
or retrograde.
Originally, to be played
of music for
on instruments
(sonata.)
to a sacred
or secular
something like
a short oratorio
Bach wrote more than 200 cantatas service before the sermon.
in the Lutheran
sort
of composition
or
instrumentations,
performance.
AD-14
A composition
consisting
of a set of usually
and passacaglia
have become the framework of some of the finest composers, for violin for example: alone,
of some of the greatest Bach's D minor partita the same composer, Berceuse,
Beethoven's
Thirty-two
between the chaconne and passacaglia to show any consistent by Martin Luther.
difference. It is of great
traditional
melodies, Chorale
and based much of his church music on them. Prelude: An elaboration of a chorale melody for the organ, of the chorale
as a prelude
to the singing
Fine examples were composed by Bach and Brahms, sometimes called chorale elaboration
figuration.
AD-15
Concerto:
soloist
in the form of a
It ordinarily
ritornello solo
instrument),
a slow second movement, and a rapid and brilliant a rondo. Nearly always the first a six-four movement has at
passage called
at appropriate
in the
other movements.
the soloist, as he
but Beethoven began the practice wanted them played. almost died out.
of improvising
cadenzas has
in the late
in which a
body of accompanying instruments the ripieno). Handel, Torelli, and Locatelli of interest
(the concerto
sometimes
Bach (particularly
in the form.
in the 20th
AD-16
Courante: measure,
A classic
dance in rapid
tempo, usually
with ~ or f
or three eighth notes. (1). to denote any kind of usually florid, superimposed
The name means running dance. Descant: polyphony. (1) A term used after (2) In modern usage,
of a working out of fragments of the frequently using modulation. to the principal The key,
in the exposition,
ordinarily
the main theme. the section after the exposition. means: treatment, It elaborates stretto, counterpoint the
modulation, invertible
augmentation,
(with one or more counter Divertimento: written outdoor cassation, purpose; for
performance.
sense.
more than four movements; and none has the characteristic of the quartet and trio of
AD-17
in
together
contrapuntal
of subject of subject
The fugue may have a complete by another exposition Triple Specific fugues are also displaying possible. the
musicians,
or wind
A duo sonata for piano by such names as a sonata or even a sonata for used by Mozart and and of substantially
and piano,
accompaniment (this
equal importance. Episode: In work, an interlude a fugal An episode a close, final subject provide between statements a section a codetta of the subject.
in which case it
cadence;)
in a different for
formal balance.
AD-18
Basically, difficulty.
a piece
written
for
the practice
which contains
occurring musical
composition. attained
Some etudes
value to have
the stature
of concert
for example the Etudes of piano ofSchumann. of the work, in in turn, each or other to a
and the Symphonic Etudes for In fugal works, is stated the first the first
section
counterpoint,
which leads
the development.
The cadence is frequently (See cadence). in which the with each in the
of a sonata-allegro,
in contrast
not restricted
AD-19
resembles It differs
that it is
however, in that
purpose, to a piece
Fox trot:
meter played by a modern dance band for ballroom Fugato: A passage in fugal a single piece style appearing
dancing. composition.
in a non-fugal
variation
in a set of variations
Fughetta: fugue. short A Fugue: Probably writing. either treated sections the most important of the techniques usually for a fixed idea, of contrapuntal number of voices, or subject, is
by episodes. the fugue is not a form, because no two fugues The formal aspect of any fugue depends on two itself, whether it or can is
speaking,
in structure.
in contrary
motion,
or diminution,
and other
similar
considerations,
the skill
and imagination
of the composer.
of a number of fugues.
AD-20
The first
section
of a fugue,
in turn,
alternating
necessary following
and other
state
have already
entered
associate) if itisused
is a second subject,
and
the fugue is a double When all the subject, exposition, capabilities other material appropriate. exploiting leads
double fugue). an episode, key. usually derived from the This cadence closes the and with the
voices
to a cadende in a related
combination
of the exposition
the subject
the subject
in stretto,
to heighten
the excitement,
in repercussion
the statement
of the subject
by all
in a different
order of
appearance
AD-21
Galop:
A lively
dance in ~ measure.
Underworld, by Offenbach. Gavottes: A dance consisting of two lively strains intime, ususally with a of bagpipes. tempo. The See
Gigue (giga):
dance in ~ or ~
measure, in rapid
begins
Impromptu:
in free
style,
as though improvised.
Actually, of
Intermezzo:
An Interlude;
a piece
of instrumental
acts of an opera. Invention: pieces as well imitative, fact their called A name used by Bach to describe written for the training a set of fifteen keyboard
in two parts,
They resemble fugues in that they are freedom of their style, in the and in
in the comparative
in the inventions,
preludes,
duets,
and other names, can be considered inventions were called frequently symphonies
inventions.
published
(sinfonien)
AD-22
Latin American dance music is characterized instruments each of which the outstanding
by the use of a host of unusual percussion has its feature particular assigned part.
Rhythm is therefore
with harmony and melody in the background. The rhumba originated in Cuba. The fundamental
Rhumba:
of rhumba is the Guaracha in which the fourth two eighth note accents. bolero isentirely different from the The bolero
beat of
The Cuban or
Spanish or ~ bolero.
modern ballroom
AD-23
A characteristic feeling
Brazilian
rhythm
Tango:
A widely
on the fourth
AD-24
Lied:
a German art-song,
as written
It is characterized
union of the music with the words, not only with respect natural accents and speech tune of the language, A distinction
which used the same music for each stanza of the poem, and the through-composed differently, develops Madrigal: (durchkomponiert) particularly lied, suited in which each verse is set
a device
or changes from stanza to stanza. Although the word appears as early to vocal compositions polyphonic as the late 13th it refers
which
flourished
and England
into
Although designed
chamber music in the home, with one singer today. The fact
to a part,
are commonly sung by choruses used to supply missing the use of instrumental for instruments only. parts
that instruments
or to reinforce
stimulated of music
AD-25
March: spirit
A musical
composition
designed
and
or to provide
accompaniment of processions. Broadly, marches can be classed march as a special as processional variety) and fast or grand marches marches or
meter,
of the kind made famous by Sousa, Goldman, King, and others, by a trio consist of two repeated strains
in the key of the subdominant. strain, followed by a contrasting is repeated, English is played,
of a repeated
marches often
two strains
the trio
to that of a minuet. for the sole contain purpose of being played which make them
Concert marches are written at concerts. unsuitable Such marches usually for marching.
features
AD-26
Mass: it
The observance
in certain
Musically, in
consists
of the proper,
by the priest,
content
or invariable
by a composer is spoken of, six parts: (1) Kyrie eleison (2) Gloria (Glory
This consists
(Lord,
to God in
(3) Credo (I believe) (4) Sanctus (Holy, (5) Benedictus holy art Thou, Lord God) is He that cometh) away the sins of the world)
(Blessed
(6) Agnus Dei (Lamb of God, who takest Mazurka: A lively Polish
beat of the measure. in Europe from about 1650 to the beginning valued as it was considered It was in ~ meter, to be the
A dance popular
particularly
in genteel
deportment.
in moderate
tempo. (see
Serious
Suite
1) and later
in the symphony, in which use it was displaced It is normally written Frequently it as a three-part has a trio, with
by the scherzo.
AD-27
Motet:
A polyphonic
choral
composition
setting
Latin religious
words
music of all
time in this
forms,
uniting
same time the efforts stage-crafter, requirements Historically, a great variety operetta
the actor,
soloists,
and purposes,
and musical
comedy on the one hand to the most profound and National schools and individual composers
in balancing
the relative
weight of drama and music. most significant Oratorio: libretto the fact generally oratorio
subject.
to be acted
that composer.
AD-28
Overture: cantata.
introduction
to an opera,
oratorio,
or
after
the
in the first
The overture
originated
crowd assembled to hear the opera. in three movements, arose: (slow, fast, slow). time overture of dotted often
two forms,
the Italian
meant a suite
rhythms, like
movements in the form of dances. is likely to be that of the which are only medleys or with light referring operas. to a rather
The form of the modern overture sonata-allegro, potpourris Partita: elaborate a prelude, introducing or polonaises, movements. Passacaglia:
of tunes.
by a movement not in dance rhythm, such as toccata, fantasie, or preambulum, bourrees, airs,
overture,
sinfonia,
extra movements, such as gavottes, and frequently The best-known See chaconne. having doubles
minuets,
partitas
AD-29
Passage: dissolves
in a florid for
manner, or it
is known as a passage. Passepied: of one beat. suite. Passion: last A piece of sacred music, of Christ, resembling and derived an oratorio, based on the A rapid dance, three beats to the measure, with an upbeat movement in a
It was occasionally
used as an optional
events
in the life
churches
of devoting life
of Christ's passion,
the story
"the Evangelist"
acts as narrator
moments of feeling,
were written
Bohemian or Polish
dance in 2 meter, with the first 4 accented , and the fourth unaccented. Another form
AD-30
Polonaise:
A stately into
Polish
dance in s meter, with each of the beats 4 two eighth-notes, but with the last half of the two sixteenth notes. There is an important
into
piece
in rather for
free
style
is likely to
be called a
composer,
of Chopin and
(1) In fugues,
the section
which prepares
for the
may be elaborate
enough to
contain voices;
in the main key by each of the statement, followed in the bass or soprano. by an extension, which
is usually
a coda,
to the final
(2) In the sonata form, the section and brings presents the movement to a close. It
in that the two themes are almost always in the this procedure building serves the purpose of
Aesthetically,
The recapitulation
and usually
by a coda.
AD-31
Recitative: a style
In the opera,
oratorio,
and other extended dramatic works the effects of spoken language, It is used expression.
of writing
which imitates
without much regard to melody or to rhythmic regularity. for narrative, (See aria.) part, dialogue, In light or for situations unsuited
to lyric
opera,
recitative
is supplanted,
event in a development
is frequently
on the dominant of
the key. Rigaudon: An old dance in duple meter originating used in the suite, in southern France number.
or as an independent
a chain of phrases
or double period.
AD-32
The small rondo (first The digression passage-like followed may be a lyric development
rondo)
by a return
however, in
more elaborate
treatment
always slow:
andante or adagio.
movement of many sonatas The old (or second) are two or more different in a somewhat remote key. The new (or third) the second
digressions,
of which is likely
rondo,
also
rapid
in tempo.
It differs
from (A-B-A-C-A-B-A)
to the first
digression.
This practice
Second and third and are also and similar Sarabande: quite works. A classic
frequent
movements of sonatas,
AD-33
Scherzo:
joke,
and this
is typical is
of many specimens of the musical a movement in sonatas, replaces is faster. the minuet. symphonies,
Ordinarily,
a scherzo which
is in triple
meter, but it
rather
works similar
such as
of Chopin and Brahms for piano. See cassation, A large divertimento. form used as the first movement of sonatas, as the overture.
Sonata-allegro: symphonies,
quartets,
and separately
interest
on the use of two themes which then finally reconciled. in style. keys
The main theme and subordinate one heroic, or regions Structurally, is usually the other (tonic lyric
to be different
or elegaic;
- dominant,
or minor tonic
or phrase-chains.
There
from the main theme to the subordinate theme to the cadence which ends
AD-34
The development section work out the two themes to each other.
uses all
sorts
of techniques
to explore
or
and in relation
(See development.) finally restates the themes but now in the same examples, is likely to have
an extension Sonata:
A large
form in several
also
likely
to be a large
form.
quartets, sonatas
and other chamber music works; for orchestra; and for concerti,
instrument
with orchestra. The typical sonata-allegro, related large sonata is in four movements, the first a
Works in three movements usually variations Sonatina: material may be substituted A small sonata, than in the sonata. for
A theme with
with less
AD-35
Song:
In its
broadest
sense,
vocal
music,
uniting
A distinction composers,
by tradition,
is music composed essentially (See Lied. ) Stretto: follower Stretto Suite: Courante, A type of imitation, begins serves the imitation
for performance
by skilled
frequent while
in fugues,
statement or excitment.
consisting
of Allemande,
such as Gavotte,
as written
performance.
(See Serenade,
made up of theatrical
music,
such as Bizet is
Time",
more or less
key,
or theme.
AD-36
Symphonic (Tone Poem, Tondichtung): Poem symphony, breaking down the separation music (imitating
A romantic variant
of the
elements of descriptive
or program music (music which seeks to tell besides Smetana. Symphony: used today, AS full orchestra. the name refers those of Liszt,
a story).
Good examples,
It originated
in the middle of the 18th century with and more or less and Beethoven and has
Sammartini, crystallized
Stamitz, into
classic
of experimentation
and development by almost every A great part of the programs symphonic poems, related, and all of
separately
list. so called
tarantella: it
A rapid Italian
because
originated
in the region
as a specific
AD-37
Toccata:
Usually,
a piece
written
to display
rapidity
of execution
on
It is written toccatas
in rhapsodic
style,
alternating
of brilliant fugues.
Tone Poem: See Symphonic Poem. Trio: violin, (1) A sonata for viola, and cello; three instruments, a piano trio, clarinet, for such as a string piano, violin, trio for
and cello;
for oboe,
and bassoon.
The possibilities
(2) The second large after which the first as introduced instruments, orchestra Variation variations, by Lully
part is repeated.
It is called this
a trio
by way of contrast
of variations,
by presenting preserving
AD-38
(1)
variations,
element is
a repeated
and the passacaglia. in which amelody is cast in other presented forma, in such
a cannon, a waltz,
A common device
is the into
variations"
eighth-notes,
then into
in the minor,
slow variations,
Variation musical
the Eroica
AD-39
Waltz: dance,
It arose
family, reached
It is characterized
which appears as a bass note with chord groups on the quarter notes. The second quarter in performance. although the steps have note of the
a trifle
popular
as a dance,
The form of the Viennese waltz consists of perhaps anticipating or five separate the dance tunes to follow,
waltzes,
each of two strains , with trio, and coda which recapitulates finish of some sort.
concluding
in an extended
AD-40
APPENDIX E
MEDIA
One consideration of great importance in the study of music is the the means available sound. and
knowledge of the media of performance; customary for the translation It is conjectured resources other
that is,
of the intent
of composers into
than those
by clapping
instruments, voice
of the singing
wider in range,
Others can make rhythmic sounds that are more or stamping of the feet. with other These can be combined or with the human producing music.
of ways, either
instruments,
which remains one of the most important Three factors are essential to a musical
to be performed, lists
a medium of performance,
and a listener.
medium of performance.
AE-1
VOCAL MEDIA The solo voice. The single Purposes. unaccompanied individual Rarely, a professional voice singer is used for may include
of familiar
The accompanied solo voice. Most frequently, accompanied by a single the harpsichord. and the lute, keyboard instrument,
voice
is or
the organ,
are also
sung to the accompaniment of orchestra, who sings the latest song hit with a or the
combo or dance band, to performance with symphony orchestra singing of arias in opera or oratorio.
Ensembles.
Much vocal
music in parts is performed by small groups, Examples of this group, practice include numbers
to each part.
quartet,
the madrigal
and concerted
works,
sometimes not.
AE-2
and chorus,
In repertoire
accompaniment is called
of the chapel.) is made among mixed groups, using both women altos, part possible; usually
distinction
and men, or boys and men, which are organized tenors, and basses, with further subdivision
or choirs,
only tenors
and basses,
usually
of unchanged voices,
or may be accompanied
piano,
AE-3
INSTRUMENTAL MEDIA
(1) ~
for solo performance are those which have the possibility of simultaneously producing melody and harmony, of which the keyboard instruments literature are the most versatile. However, there exists a considerable
of works for violin alone, for cello alone, and even for
flute alone, which are to be met with in public performance now and then. (2) Solo instrument with keyboard accompaniment. field of music in this category. Properly speaking, There is a large sonatas for violin
and piano, cello and piano should be excluded from this category, as the parts are equal in importance and such works should be considered as chamber music or ensemble literature. However, there is a vast accompanied
literature of shorter pieces for almost every instrument, with piano or organ. as piano reductions
Even concerti can be performed in this fashion, of the orchestral scores are readily available.
AE-4
(3) Solo Instrument with orchestra accompaniment. The most important The solo flute, examples in this instruments organ, category are concerti for various instruments. employed are piano, bassoon, violin, cello. and
viola,
horn, oboe,
saxophone,
concerti
and tympani. Besides concerti, many shorter to display the technical agility and
accompaniments have been made, and are quite come to recognize the
An instrumental to a part.
ensemble is a small group of instruments There is a wide variety of which are discussed of such ensembles, here.
AE-5
By far the most important ensemble for (1) The string quartet. the performance consisting are: of classical chamber music is the string a viola, and a violoncello. and agility, for public in mall quartet, The advantages of
of two violins,
wide range,
although it
quite
Mozart,
ensembles.
instruments;
violin
and cello;
viola
and
cello;
piano,
clarinet,
and horn;
violin,
tiola,
and cello;
piano
and any three instruments. d. Quintets: (string etc. quintets); quintet, string quartet with one additional clarinet, viola or cello oboe,
string
quartet
horn, flute,
(piano
clarinet
quintet,
other combinations
of five
instruments.
AE-6
sextets,
septets,
octets,
and the
like, which
of instrumentations;
an aggregation
woodwinds, brasses,
playing
is substantially
and Haydn, for example, and the number of wind and percussion used depends on the requirements practice not to maintain regular of the composer. chairs
in the orchestra
are programmed,
special
include:
orchestra.
A smaller
orchestra,
parts can be played by other instruments. orchestra include the opera orchestra,
the studio
broadcast,
formal dinners,
scale entertainments,
and so on.
AE-7
(2)
An orchestra
which specializes
In music
a group of musicians
including
(2) A dame orchestra. (3) In general instrumentalists instruments. for Several present usage, a band isan ofmusic, organization excluding of
string
functions. b. Brass band. A type of band very popular England and percussion. Band. A large band, emphasizing for standards of made
in performance
Unfortunately, chiefly
AE-8
Dance orchestras andThe dance orchestra combos. (for just dancing), three or of the concert to a large type.
may be either
instruments
orchestra, usually
a piano and/or
A combo
rhythm instruments
or in addition,
combinations
of wind instruments. The instrumentation of (1) The full tenors, commonly used dance orchestras five saxophones, follows: two
two altos,
one baritone,
on clarinet
instrument;
six or eight
instruments
divided
dance orchestra:
the four man rhythm section. three tenor saxophones; one trumpet;
string (4)
The "Dixieland
one clarinet;
one trombone;
(optional);
AE-9
OTHER MEDIA
a few specialized
types of performance
groups are
for the sake of completeness. An old English playing name (16th and 17th centuries) If all instruments for a group of
together.
or recorders, If string
for example)
the group
represents
an early
stage in
the development of the orchestra Fanfare. kettledrums instruments. an important (1) A short, lively,
and of chamber music. loud piece for trumpets, piece involving sometimes with other brass of
attention
to the entrance
(2) In French usage , the word refers using woodwinds and brasses Fife, field Drum, and Bugle Corps. music, that is, marches, is called
An organization fanfares,
It survives
principally
in display
organizations.
AE-10
APPENDIX F
determines
determine
(time-beating)
The area normally used for the top about eye level equidistant square will to the left
and the bottom about even with the waist and and right. If a baton is used the size of the
going from the upper to the lower part of the square then reversing direction execution. The down beat is basically movement from top to bottom will the square. (Fig. 1) or last portion beat of the measure, is made by moving from slant to a spot the same for any type of measure. be referred to as the centerline This of to form the ictus. The ictus is the exact place of
AF-1
will
the ictus
(Fig.
2)
the direction
The first
beat lasts
of two.
The
of one.
The the
between beats
should be approximately
same to facilitate
keeping a steady tempo. is used for the second beat inand the start a little to the of the to where
and move downward almost to the lower right direction there to make the ictus (Fig. 4) after the ictus,
corner
square,
reversing
and proceeding
to join
to
the beginning
AF-2
The only other type of beat is the beat the Two in a four beat measure. the center line
the bottom of the square and move direction, to form the the right. beat to the (Fig. 7) (Fig. 6)
then reverse
to where we began to form the beat to the down beat, beat to the left,
The fast
six
is exactly to
the
same as the two beat measure. the four beat measure except to the right are used,
in addition
(Fig.
8)
The one beat measure, as it After the ictus A distinction is made, proceed
to the top of the next beat. in that when the three the return beat
to the top of the square takes twice as long as going from top to bottom. (Fig. 10)
AF-3
The five
beat measures.
to subdivide
a beat simply add another beat (Figs. 13, 14, and 15)
The preparatory
an idea
is made at the same speed as the next. beat of a preceding beat would be.
AF-4
The hold or pause is made with an inward curving The release or cutoff
motion.
(Fig.
motion.
The left a. b. c. d. e. f.
hand is used as follows: To reenforce the right hand when making preparatory beats.
Cueing performers.
AF-5