Music EC-12 (Music Classroom Performance) Flashcards

1
Q

Brass instruments (1 of 2)

A

As a group of wind tubular instruments made almost entirely of brass, the brass instrument family, or aerophones, is made up of instruments producing sound by the musician’s buzzing of the lips. Each instrument has a mouthpiece at one end, varying lengths of tubes, and an enlarged or flared opening or bell at the other end. Though now obsolete, short types of brass instruments include the cornett, serpent, ophicleide and are designed to play at the lowest octave of the harmonic series. Medium-length instruments play at the second octave of the series and include trumpets, trombones, flugelhorns, and euphoniums. Long instruments play in the third octave of the series and include the French horn and Baroque and Classical style trumpets.

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2
Q

Brass instruments (2 of 2)

A

The particular bore of the medium-length instruments also determines the kind of sound, as trumpets and trombones are narrow while the flugelhorns and euphoniums are wide. The sound produced by the brass instrument family is forceful, ranging in texture from bright and piercing sounds in the smaller instruments to dark and mellow sounds in the larger instruments. The brass instrument family can produce more notes when fitted with valves or a slide, which will extend the tubes to create additional series of tones and subsequent fundaments on several groups of half steps lower than the previous group. The bugle, used primarily in the military, is not fitted with valves or tubes but is played entirely by the performer’s ability to compress the lips and create forceful sounds at a designated pitch.

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3
Q

Brass instruments

Cornet

A

A cornet is a brass instrument used for the soprano or higher registers and has a more conical bore similar to the modern trumpet. The sound produced can be slightly more mellow than the traditional trumpet, but that quality is wholly dependent on the musician. Built in C, the cornet is used in European and American military ensembles as well as community and school band performances. The cornet has shanks and crooks to reach most keys down to D, but those were discarded with the shallower mouthpiece that increased the vocal quality and solo virtuosity for the musician. The soprano Eb cornet is a favored solo instrument in smaller ensembles and brass bands.

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4
Q

Brass instruments

Trumpet

A

The trumpet is a soprano brass instrument with 4 1/2 feet in tube length folded twice over. The mouthpiece extends at one end while the expanded bell extends at the other. At the center is the 3-valve structure with the extra tubing for increases in range. The bore is mostly cylindrical and expands just before the bell. Trumpets are available in different sizes based on the corresponding pitch of the fundamental. While the Bb is the most common trumpet for school and community performances, the trumpet also comes in C, D, Eb, F and piccolo Bb or A with the C trumpet as more favored in professional performances. Piccolo trumpets, or Bach trumpets, are smaller with less tubing and have 4 valves. American trumpets usually have Périnet piston valves for the right hand, and some are equipped with rotary valves.

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5
Q

Brass instruments

Trombone

A

A narrow, long brass instrument, the trombone has tube ends that overlap and result in the U-shaped section wit a cylindrical slide that starts at the mouthpiece. The other section is more conically shaped and has an expanded bell. Used in European and American orchestras, bands, and jazz ensembles, trombones are mostly tenor instruments in a fundamental Bb. The fully extended slide provides the room to lower the pitch up to 6 half-steps, allowing the trombone to reach all 7 of the harmonic series of pitches. The range is wholly dependent on the musician’s ability. The tenor sound for the trombone is usually bright and penetrating with deep overtones. While the upper registers are mellow and more difficult, lower registers are brighter and helped out with additional valves for a full round tone.

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6
Q

Brass instruments

Euphonium

A

The euphonium is a valved brass instrument about an octave lower than the trumpet or cornet and has about 9 feet in tube length folded in an upright form. The bell points straight up or partly forward with the large bore of the bugle or flugelhorn. The euphonium and baritone, a similar brass instrument, are extensively used in European and American military as well as community and school performances. With the explosion in the abilities of the performer, the euphonium has become a greater used solo instrument for the full band or as a featured section. Music is written in the bass clef at concert pitch or treble clef that sounds a ninth lower.

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7
Q

Brass instruments

Flugelhorn and bugle

A

The flugelhorn was originally a hunting horn in eighteenth-century Germany but progressed to a valved horn similar to the bugle. The transition of the flugelhorn to becoming a valved instrument led to the proliferation of other valved brass instruments that are commonly used in brass bands. Soprano flugelhorns have comparable ranges as the cornet and are used in jazz and popular music.
The bugle is a soprano brass instrument with a very large bore. Originally used as a signaling instrument, the bugle was later given valves and keys for amore complete chromatic performance and became the solo instrument for early brass bands. The instrument used in the military is without valves and is pitched from Bb to F similar to the modern trumpet and plays pitches 2 through 6 of the harmonic series.

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8
Q

Brass instruments

Tuba

A

The largest and lowest brass instrument, the tuba has a widely expanding tube that measures 18 feet and is wrapped in a rectangular shape with the narrow end and mouthpiece pointing back on one end and the expanded bell above the other. The bell flares out and is turned forward. The tuba has 3 or 4 valves for the right hand and is commonly used in European and American military, as well as community and school performances and professional orchestras. The circular tuba, or sousaphone, is used in marching band. Tubas are written in bass clef and are available in 4 sizes: BBb, CC, Eb, and F. The first 2 sizes are common, and smaller tubas are used for baritone or euphonium pitch. Some tubas have additional valves for lower notes and can be made a fifth or an octave below the BBb tuba.

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9
Q

Brass band

A

The brass and is an ensemble composed of all brass instruments, and can include 24 or 25 musicians. The arrangement of instruments follows 1 Eb cornet; 4 or 5 solo, 2 second, and 1 or 2 third Bb cornets; 1 Bb flugelhorn; 3 Eb tenor horns in solo, first, and second; 2 Bb baritones in first and second; 2 Bb euphoniums; 2 Bb tenor trombones in first and second; 1 Bb bass trombone; 2 Eb basses; and 2 BBb basses. Percussion instruments are occasionally added per music requirements. As a British favorite for recreational and educational programs hosted by commercial enterprises, schools, and religious groups, the brass band has waned in popularity for American music with the increasing preference for mixed ensembles including brass and reed instruments similar to those of John Philip Sousa.

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10
Q

Woodwind instruments

A

Woodwind instruments cause sound to be created by the musician’s blowing of air either across or through an opening or by blowing against a reed to resonate or vibrate through an enclosed air column. While original woodwind instruments were made from wood, modern woodwind instruments such as the piccolo, flute, and saxophone are made of metal but are not considered brass instruments because of the manner in which the sound is created. Keyboard instruments that create sound by blowing air through an enclosed air column, like organs, are not classified as woodwind instruments. All woodwind instruments have side holes to help configure the sound created by covering the holes or leaving them open. Woodwind instruments include the piccolo, flute, recorder, clarinet, saxophone, oboe, and bassoon.

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11
Q

Woodwind instruments

Piccolo and flute

A

The piccolo is a small flute pitched higher than the normal flute range. Lacking the middle foot joint, the piccolo may be composed of metal or wood and is sometimes pitched in other keys besides C, such as the popular Db.
The flute is a woodwind instrument made almost entirely of metal and has no reed. Duct flutes have whistle mouthpieces, and embouchure-hole flutes have mouthpieces that require the musician to force air against the edge of the instrument. The modern flute has an embouchure hole and is a cylindrical tube with many side holes and specific mechanisms to cover groups of the side holes to vary the pitch. The flute can be pitched in other keys besides C and can also be created in alto, bass, and contrabass registers with a larger bore.

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12
Q

Woodwind instruments

Recorder

A

A duct flute with a fipple mouthpiece, the recorder has 2 principal types: Renaissance and Baroque. The Renaissance recorder is made of a single section with 9 holes and a thumb hole in back. The recorder has a conical bore that is usually larger at the top while the exterior is smooth and wider at top and bottom. The Baroque recorder is more ornate and usually consists of 3 sections without a ninth hole. Modern recorders are pitched in C despite the individual tones of each instrument. The sopranino, soprano, alto, tenor, bass, great bass, and contrabass recorders have a range of 2 octaves and a whole step which can be increased with more accomplished musicians. The lowest recorders have curved mouth pipes similar to the bassoon, while the highest records are written an octave below where they play.

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13
Q

Woodwind instruments

Clarinet

A

A single-reed woodwind instrument, the clarinet has a predominantly cylindrical bore and is usually made of grenadilla or African blackwood. The entire clarinet family includes instruments from high Ab, Eb, Bb, A alto in Eb, bass in Bb, contrabass in Eb, and contrabass in Bb. All clarinet instruments have approximately the same range in the treble staff while lower instruments mainly play within the lower octaves. The Bb clarinet is the most common though some orchestras require the A clarinet. The clarinet can sound an octave lower than the audience member would expect. The flute and Bb clarinet measure about the same length but with different lower pitches. The 9 fingers available must handle 19 semitones rather than the 11 of the flute.

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14
Q

Woodwind instruments

Saxophone

A

With a metal conical bore, the saxophone is a single-reed instrument made in 2 shapes. Smaller saxophones are straight and almost recorder-like in style while the larger ones have a bend toward the front at the bell and toward the back for the neck. The orchestral group has 7 sizes pitched alternately in C and F, while band or military group has 7 sizes pitched alternately in Bb and Eb. All saxophones are written in the treble clef though some instruments have extra keys for extending the range for lower notes. The saxophones used today include the sopranino in Eb, soprano in Bb, alto in Eb, tenor in Bb, baritone in Eb, bass in Bb, contrabass in Eb, and subcontrabass in Bb. The saxophone is used in jazz as well as military, community, school, and professional performances.

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15
Q

Woodwind instruments

Oboe

A

A double-reed woodwind instrument with a conical bore, the oboe has a flared bell while other members of the oboe family such as the English horn and baritone or bass oboe have a hollow, bulb-shaped bell. Oboes are usually made of grenadilla or African blackwood. Cross keys for the G# and F were added in the early nineteenth century though the development of the oboe progressed at a much slower pace than the flute due to its lack of popularity. Additional keys for the C, B, Bb, and a cross key for the upper C were added later. The 13-key instrument perfected in 1825 is the same Viennese oboe still used today. The term oboe is often used generically to refer to a double-reeded instrument.

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16
Q

Woodwind instruments

Bassoon

A

A double-reeded woodwind instrument with a conical bore, the bassoon has a folded bore in the center to reduce the exterior size. Several of the holes are drilled at an extreme angle into the bore to make those holes more reachable by musicians. The normal bassoon and contrabassoon are the only surviving types of bassoon in modern orchestration. Bassoons are composed of 4 sections called the wind or tenor, the boot or butt, the long or bass, and the bell. The reed connects to the wing in an S-shaped tube or bocal. Modern bassoons are divided into French and German types based on the fingering and design. German bassoons are most popular in Europe and America and are made of maple while French bassoons are made of rosewood.

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17
Q

Stringed instruments

A

Stringed instruments have a stretched cord attached to a resonant chamber and held with tension. The cord can be plucked, bowed, or struck to create resonance in the chamber and can be manipulated to produce a specific kind of sound based on the pressure of the fingers against the cord at different locations along the neck of the instrument. The strings can be made of lamb gut, silk, wire, horsehair, nylon, and other synthetic materials. As the creation of strings became more commercial, the range of the stringed instruments and the subsequent performance of the family improved. The clarity of sound and brightness are influenced by the tightness of the twisting of the strings. The number of strings used on the various instruments also allows a greater range of sound and color.

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18
Q

Stringed instruments

Violin

A

A bowed stringed instrument, the violin is comprised of a hollow resonating wooden box with an attached neck where the 4 strings are tuned in fifths as G, D, A, E. The rounded shoulders of the violin join the neck and, with indented center bouts or concave depressions, provide free clearance for the bow as it is played across the strings. The fingers of the left hand are used on the fretless neck to stop the strings and manipulate the resulting pitch. The bow with its connection surface of horsehair sets the strings to vibrate which is carried through to the belly and resonating body of the instrument. The violin is usually made of spruce or soft wood similar to pine for increased resonance within the body itself, and the chin rest was added around 1820.

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19
Q

Stringed instruments

Viola

A

The second highest instrument in the stringed family, the viola has its 4 strings tuned to C, G, D, and A at a fifth below the violin strings. The music for the viola is usually written in the alto clef, and the instrument itself is between 3 and 9 inches longer than the violin. The viola can be held the same way as the violin and produces a warmer tone in the low register. The viola part follows below the second violin part and is the second lowest part written in the string quartet composed of 2 violins, a violincello, and the viola. As the important middle part of the string trio, the viola is often viewed as an orchestral instrument with limited solo features.

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20
Q

Stringed instruments

Violincello

A

With 4 strings tuned to C, G, D, and A at an octave below the viola, the violincello or cello is played between the knees with its weight supported on the endpin that is balanced on the floor. The cello is bowed with the palm downward and is similar in design to the violin disregarding the deeper ribs. The cello is the bass voice in the string trio, string quartet, and string quintet that includes 2 cellos and is written just above the double bass parts in orchestral music. Baroque and Classical pieces were written for cellos specifically, and the instrument has enjoyed a solo repertoire including works by such composes as Mozart, CPE Bach, Schumann, and Brahms.

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21
Q

Stringed instruments

Double bass

A

As the lowest pitched stringed instrument, the double bass is a hybrid of the viol and violin families and is also referred to as bass viol, contrabass, string bass, and bass. Its 4 strings are tuned to E, A, D, and G an octave lower than the cello while some music calls for a fifth string tuned to C. The orchestral instrument has levers to allow the double bass to reach the C without an additional string. The double bass is tuned in fourths rather than fifths and can use either the French bow where the palm is held downward or the German bow where the palm is held upward. Many double bass solo pieces have been composed since the eighteenth century, though the instrument was popular in chamber music written by Mozart, Beethoven, and Schubert. The double bass played pizzicato has been greatly used in jazz performances.

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22
Q

Stringed instruments

Harp

A

A chordophone where the strings are suspended vertically and perpendicularly to the soundboard, the harp is triangular in shape with the 3 basic elements of resonator, neck, and strings. The 47 strings are attached directly to the neck through movable tuning pegs, and tunings are pentatonic, tetratonic, heptatonic including diatonic, or chromatic. The double-action harp has 7 strings per octave, and each string can be raised 2 semitones using the pedal system. The manual pedal systems tune the strings to the desired register and pitch. The strings are usually plucked with the thumb and first two fingertips but can also be strummed, struck, or slid upon. The resonator itself can be viewed as a percussion instrument and can be struck by the hand or fingers or hooked rattles.

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23
Q

Keyboard instruments

A

Keyboard instruments include any instrument with an entire set of levers that will actuate the tone-producing component of the instrument itself, such as the piano, organ, harpsichord, clavichord, and other comparable instruments. Each instrument has 7 natural tones and 5 chromatic tones arranged in chromatic order and repeating along the width of the instrument. The C major scale consists of all natural tones or white keys, and the accidentals used in other scales are often shown as the black keys or raised notes. There is no black key between the E and F and between the B and C as these notes are natural semitones similar to the relationship between C and C#/Db.

24
Q

Keyboard instruments

Piano

A

Originally referred to as the pianoforte, the modern piano is able to create music with dynamics such as soft and loud whereas the harpsichord had only one dynamic. Pressure applied by the musician at the outer ends of the keys causes connected wires to strike a hammer against tuned strings that vibrate. The musical range for the piano is 7 1/3 octaves from A2 to C΄΄΄΄΄. The term itself refers to the strings, area over which the strings are stretched or the soundboard, the iron frame to which the strings are attached, and the structure of keys and hammers or piano action in a horizontal space usually enclosed in a solid case.

25
Q

Keyboard instruments

Organ

A

The organ is made up of a keyboard attached to 1 or more sets of pipes. The sets of pipes or stops combine with the action of the organ to allow the musician to combine the sounds produced by the different sets of pipes during the performance. The organ’s pipework is properly voiced and scaled with wind supply and wind chests for projection, and the organ includes the keys, stop actions, and case. The pipes are made of metal or wood and are either classified as flue or reed depending on the type of sound created. Flue pipes can be divided into stopped flute, chimney flute, gemshorn, and principal. Reed pipes can be divided into 2 types of trumpet pipes.

26
Q

Percussion instruments

A

Percussion instruments refer to instruments that must be struck, scraped, shaken, or plucked to produce sound. The instruments themselves can be classified by their ability to create a pitched sound that can be altered. Standard percussion instrumentation includes snare drum, bass drum, tympani, cymbals, triangle, and tam-tam. Melodic percussion includes Glockenspiel, xylophone, marimba, crotales, celesta, and tubular bells. Auxiliary percussion includes tambourine, cowbell, temple blocks, ratchet, sleigh bells, wood block, slapstick, maracas, güiro, claves, castanets, timbales, bongos, and congas. Most percussion instruments must be played with a drumstick or mallet fashioned of wood or rattan with or without a padded end to create the vibration within the instrument that produces the sound. Some instruments, like tubular bells, are played with hammers made of wood, metal, or rubber.

27
Q

Percussion instruments

Drum

A

The drum is an example of the membranophone where treated skin or plastic is stretched over a frame of wood or metal and is struck by the hand or mallet. In Ancient times and even some modern cultures, drums are shaken, rubbed, or plucked and come in a variety of shapes and sizes. While most drums have an indefinite pitch, some cultures prefer to have tuned drums for a variety of percussive options during play. The Western military-styled side drum and the snare drum are both cylindrical and made of two heads or skins stretched tight and attached to a series of rattles or snares. The tenor drum has no snares and can be tuned, and the bass drum has no snares and is capable of impact or lower pitches.

28
Q

Percussion instruments

Melodic percussion

A

The Glockenspiel is a definitely tuned percussive instrument laid out similarly to a keyboard. Each metal bar can be struck by metal or plastic mallets and is played on a horizontal stand. With a limited range from G to C΄΄, the Glockenspiel has no resonators and can be equipped with a damper. The xylophone is also a definitely tuned percussive instrument with suspended wooden or synthetic bars over resonators that are tuned to the pitch of the bar. The pitch of the bar is determined by its length. Also held on a horizontal case, the xylophone is played with plastic or cord- covered mallets and can range from 4 to 5 octaves. The marimba is a definitely tuned percussive instrument made of wood and also suspended on a horizontal frame over tuned resonators. The marimba is generally a full octave lower than the xylophone and is usually played with cord-covered mallets.

29
Q

Percussion instruments

Cowbell, Temple blocks, Ratchet, Sleigh bells, and wood block

A

A cowbell is a metal bell with straight sides and nearly rectangular shape. Without the clapper, the cowbell is played with a drumstick. Temple blocks are carved hardwood round or oval hollow boxes with a slit for resonation. Able to be definitely tuned, temple blocks can be played with cord-covered mallets or drumsticks. A ratchet is a grooved cylinder with an attached handle and wooden tongue where the frame causes the tongue to strike against the wheel when the wheel is turned. Sleigh bells are
small bells set in rows on a handle or piece of wood to be shaken or hit with a drumstick. A wood block is a partially hollowed block of wood that is struck with a drumstick or cord-covered mallet.

30
Q

Percussion instruments

Slapstick, Maracas, Guiro, Claves and Castanets

A

A slapstick is made up of 2 or flat and narrow pieces of wood about 30 cm long that are hinged together so as to be slapped for a whip-cracking sound. Maracas are round or oval Latin American rattles filled with seeds or small particles to be shaken at the handle and played in pairs. Güiro is a Latin American scraper made from a hollowed-out gourd with repeating ridges and rubbed across with a stick. Claves are a pair of Cuban clappers about 20 cm long where one hand holding one bar acts as the resonator when the second bar is clapped against it. Castanets are 2 shell-shaped structures that are clapped together. Timbales are tuned single-headed drums played with sticks. Bongos are 2 small single-headed drums with differing sizes and played with the hands. Congas are tall single-headed drums played with the hands.

31
Q

Singing

A

The voice can be used as a musical instrument through singing or humming. With a strong link to community relations predating recorded history, singing has been a task of the priest, healer, actor, poet, and entertainer. Greatly popular during the Middle Ages and the Renaissance, singing became less popular with the progression of instrumental music. Vocalists were encouraged to pursue musical instruction in how to use the voice as a musical instrument and not in the folk traditions enjoyed by previous audience members. As a result, music was composed to show off the vocal ranges of singers, and it was expected that vocalists would ornament their vocal pieces the same way instrumentalists would ornament theirs. Popular music and jazz have allowed singers to develop their voices more independently than the composers of the Romantic period did.

32
Q

Voice quality (1 of 2)

A

The voice is the most complex of all musical instruments as it can be adapted to many different styles of singing and in many different preferences of such things as the register, timbre, tessitura or particular range for the performer, and tone quality. Various cultural aspects have contributed to the creation and survival of different genres of singing in different countries. With the emergence of electronic creation and dissemination of music, singers around the world have broadened the scope and appreciation of concert-style or operatic singing. The concept of good vocal sound has also changed where the ideals of register and tone quality have been developed between the musical periods. The natural male voice was perceived as pure before the sixteenth century, but opera, cantata, and oratorio featuring high or soprano voices allowed the soloist to exploit vocal ornamentation and emotionalism.

33
Q

Voice quality (2 of 2)

A

The exploitation of the voice produces sounds of varying tonal character due to the size of the resonance chambers and personal ability of the singer. The registers of sound able to be produced are hard to define since there are different methods for the voice to produce sound. Falsetto is an option for lower voices to reach higher tones as men typically have chest, head, and falsetto voice ranges while women have chest, middle, and head. Chest and head tonal qualities affect the different registers achieved during singing. When a singer shifts from chest to head, he is completing a register break. This transition is usually covered by the extension of pitches at either register or
blending those registers together. The register break is at about the same absolute pitch for both men and women.

34
Q

Vocal expression and definition

A

The audience appreciation of vocal expression changed in the early nineteenth century with the emergence of the dramatic soprano and tenore robusto. These 2 parts exploded in a heavier registration and manner of singing that was more forceful and featured new avenues for vocal expression and the need for larger orchestras to accompany the solo voices. The soprano is the highest-pitched voice and usually reserved for females and young boys. The alto is a low female voice and is the second-highest pitched voice in the standard vocal ensemble of soprano, alto, tenor, and bass. The tenor is the third- highest pitched voice and is the highest naturally occurring voice for male singers. The bass is the lowest-sounding pitched voice and usually performed by a man.

35
Q

Designations of vocal registers

A

There are 6 accepted designations of vocal registers with 3 for men and 3 for women. The men vocal registers include the bass, baritone, and tenor, and the female vocal registers include contralto or alto, mezzo soprano, and soprano. Most untrained voices can be classified as baritone or mezzo soprano as some training is needed to accurately hit the range for the tenor or soprano parts. Basses can sing in the range of D2 to C4 or Middle C. Baritones can sing between G2 and F4 with Tenors at B2 to G4. Contraltos sing between D3 and D5 with mezzo sopranos singing between A3 and F5 and sopranos between C4 and C6 or High C.

36
Q

Production of vocal sound

A

The voice is considered by some to be a wind instrument since the vocal instrument is comprised of the air supply, vibrator, and resonator. The human diaphragm acts as the initial mechanism to draw air into the lungs. The larynx or voicebox at the top of the trachea or windpipe has muscles or vocal folds that act as a kind of valve for the opening and closing of the air passage to allow air to flow through. As air is exhaled, the vocal folds resist the release of air as it moves through the glottis or opening, which causes the muscles to vibrate. This vibration causes sound. The sound, which is produced in the larynx, moves toward the resonance cavities that act as secondary vibrators and affect the tonal quality by strengthening some parts and damping others. The resonance achieved through the pharynx and mouth shapes the final sound.

37
Q

Register breaks

A

Different types of singers are best defined by their ability to maintain vocal quality before completing a register break. The coloratura soprano traditionally has light registration with high tessitura and vocal agility, and the comparable tenor is referred to as tenore robusto. Young tenors and sopranos employ the light registration and are often referred to as lyric voices. When a heavier registration is employed by singers to create a more powerful sound, the lyric quality is said to push the voice more fully. This type of tenor is referred to as tenore di forza. Basses and altos sing mostly in chest voice, though basses may employ falsetto for comic relief. The basso profondo enjoys a rich, low tessitura while the basso cantante has a higher tessitura, lighter register, and more vocal flexibility.

38
Q

Vocalise

A

A vocalise is a musical composition for the voice that contains no discernible text. Several pieces with particular sounds associated with certain notes or scales and usually written with piano accompaniment were published and distributed as vocal exercises and instruction on vocal technique. These didactic vocal pieces without text proliferated in Twentieth Century music by such composers as Ravel with his 1907 Vocalise en forme d’habanera, Rakhmaninov and his 1912 Vocalise op. 34 no. 14, Respighi and his 1933 3 vocalizzi, and Vaughan Williams with his 1958 Three Vocalises. As the technique became more commonplace in musical rehearsal and performance, the term vocalise was expanded to include any melismatic passage occurring in a vocal work with accompanying text.

39
Q

Voice exchange

A

Occasionally the vocal parts of a musical work for choir or small ensemble include some interaction between the different sections so that the sopranos and altos may repeat a phrase or particular vocal phrasing that is or has been previously introduced by the tenors and basses. This voice exchange occurs between 2 or 3 voices so that the phrases are sounded at the same time where the first voice sings the phrase just completed by the second voice and the second voice sings the phrase just completed by the first voice and so on. The upper voices of the multi- part organa and melismatic parts of polyphonic work showcase this exchange.

40
Q

Solfège (1 of 2)

A

Used as a textless vocal exercise for technique, solfège originated with seventeenth century Italians and was later used by the French. Scales, intervals, and melodic exercises were completed in solfège as this style was preferred in the instruction of basic aural and tonal skills of vocalists. The adaptation for solfège as it related to the musical instruction of children was developed by Zoltán Kodály. The revised Guidonian syllables of do, re, mi, fa, sol, la, and ti are associated with notes in fixed and movable formats. In the fixed do format, the syllables each correspond to the note of the scale where do equals C, re equals D, and so on. The fixed do format does not regard accidentals. Movable do format corresponds the syllable with the note in the scale so that do equals D, re equals E, and mi equals F#.

41
Q

Solfège (2 of 2)

A

The syllables of solfège can be assigned accidentals in different ways. As an example, the seventh syllable is represented as ti, and the chromatically altered syllable to compensate for the accidental would be te. The chromatic scale in ascending corresponding sharps is do, di, re, ri, mi, fa, fi, sol, si, la, li, ti, do. The chromatic scale in descending corresponding flats is do, ti, te, la, le, sol, se, fa, mi, me, re, ra, do. The German Tonwort systems have joined different characteristics of both fixed and movable do formats where the fixed letter names and syllables remain as a reference but with the alternation of syllable names in response to the chromatic variations.

42
Q

Solmization

A

The assigning of syllables such as those used in solfège to reflect certain pitches as opposed to referring to their letter names is solmization. This style of musical learning is best shown in oral traditions and is still used in the teaching and reading of music. Solmization was originally a way to practice sight-reading. The seven syllables of solfège are based on the Guidonian system which is founded on a designated grouping of interlocking hexachords. Each of the 6 lines in the hymnal tune of Ut queant laxis begins one step higher than the previous line so that the 6 starting tones create a hexachord. The syllables sung as part of the hymn are ut, re, mi, fa, sol, and la and are associated with the Guidonian solmization. A semitone exists between mi and fa while the other syllables are separated by whole tones.

43
Q

Sight-reading/sight-singing

A

Performing a musical piece when seeing it for the first time is sight-reading or sight- singing depending on the instruments involved. A musician can only sing or play the note correctly at first viewing of the piece if he or she is familiar with how the note should sound when it is sung or played. The ability to accurately sight- read or sight-sing is improved with practice and familiarity of the notes and their corresponding sounds. Ear-training allows the musician to have some kind of recognition of how notes will sound and be able to reproduce those notes more accurately. Solfège and solmization are effective techniques to help musicians improve their sight-reading abilities. An understanding of the notation used in the music and other cues usually given by the conductor allow musicians to feel more comfortable and confident in their sight- singing abilities.

44
Q

Tonic Sol-fa

A

Tonic Sol-fa is a nineteenth century English type of sight-singing method and musical notation similar to the German Tonika-Do system and the Hungary Kodály system. Developed by Rev. John Curwen in 1841, tonic sol-fa was intended to help beginning vocalists sing more accurately. Curwen used the solmization syllables of doh, ray, me, fah, soh, lah, and te as the ascending pitches of the major scale. The key would be established by doh in the major scale while lah would be the tonic in a minor scale. Sharp notes would add an –e to the syllable, and flat notes would add an –a to the syllable. Punctuation was added to show rhythm, but modern users of Tonic Sol-fa use a Modulator with corresponding hand signals to indicate the syllables.

45
Q

Electronic piano

A

An electronic or electric piano refers to an instrument that can produce or emulate sounds electronically that have the same texture or characteristics of a regular piano. The type developed in the 1920s not only used the traditional hammers and strings but also employed pickups, or devices to transmit motion into electrical impulse, that would respond to the motion of the strings. Later modifications included the use of metal rods or reeds to initiate the electrical impulse created by the vibrations and convert those vibrations into sound that would be amplified through the loudspeaker. Electronic pianos eventually were improved to where the sounds were created by electronic means without the need of additional strings.

46
Q

Electro-acoustic music

A

As music produced and changed by electronic means, electro-acoustic music is created through electronic devices wholly independent of actual instruments. Electronic music comprises sounds created by electronic oscillators that are stored on magnetic tape or in a hard-drive. Synthesizers modify the sounds programmed into the database, and computer music adapts the stored sounds for composition and arrangement. Live/ electronic music combines the electronic basis for sound production with the real-time performance dynamic, allowing the composer or performer to modify any aspect of the performance, such as tempo, volume, or color. Tape techniques as well as a computer synthesis of human speech can also be used to create text-sound pieces so that the spoken language can be featured as any other instrument.

47
Q

Synthesizers

A

The early 1950s RCA Synthesizer allowed musicians to control any sound- generating and modifying apparatus for the production of electronically based music but at a great expense and with unpredictable results. The next decade saw great expansion in the electro- acoustic musical arena as translator technology became more efficient and affordable. Tape splicing became obsolete as the synthesizer allowed the musician to connect modules and incorporate amplifiers, oscillators, and filters for continuously changing sound production and sequencing. Synthesizers have improved tonal quality and selection for electronic performances for rock bands, movie scores, and even the accompanying sounds for electronic games and devices. Modern synthesizers include a keyboard that produces more precise timbres with nonvarying harmonics.

48
Q

Computers

A

The use of computers in sound and music production is most significant in the ability to synthesize sound waves. The sound waves, which are stored as numbers, are converted into voltages that are connected to loudspeakers which transmit the sound that is heard. Direct digital synthesis is the most intriguing aspect of computerized music since the composer can modify, record, and rearrange sounds easier than an ensemble could be redirected with the music rearranged. Because of the time required to translate the musical ideas and patterns into a language that is understandable and replicable to the computer, most composers do not utilize the computer programming option for music creation and production.

49
Q

Conductor

A

Conducting an ensemble requires the conductor to lead and coordinate a particular group of instrumentalists or vocalists in the preparation and performance of a musical work. The conductor acts as the constant tempo and meter facilitator to provide the direction for the piece through the different sections and transitions. By being at the head of the ensemble, the conductor can determine the tempo changes and timbral balances while cueing a particular section and noting areas for potential emphasis and focus. The conductor usually acts as the administrative leader in regards to the selection of orchestral members, appropriate musical pieces for performance and rehearsal, and any featured soloists or guest performers. The conductor usually acts as the fund-raising head and public relations liaison.

50
Q

Conductor

Gestures and time-beating

A

The audience sees the conductor as he or she waves a baton or just the hands to direct the ensemble throughout a musical performance. The gestures may be expressive or economical, but most conductors use a standard pattern to indicate the time or meter in a particular piece. For example, the conductor may hold the baton at a center point just in front of the chest for the downbeat and sweep down and to the right and back up for a two-beat measure. Three-beat measures include the third beat usually indicated as the third side of an air- triangle. Four-beat measures appear as a cross from top to left to right and back up. Six-beat measures may result in 2 taps to the right and 2 taps to the left as beats 2 and 3 and as 4 and 5.

51
Q

Conductor

Historical development

A

As the music began to focus more on dynamics and timbre, the conductor became more important in the overall production. As orchestras grew in size, there was a need for some direction when several of the sections were playing similarly written patterns or were playing against each other or engaged in back- and-forth musical statements and responses. Composers were the conductors in the Classical and Romantic periods as they usually were able to lead the smaller ensembles from the harpsichord which was loud enough that the other members could verify the tempo and meter. When visiting composers began to refer to the keyboardist’s score to conduct a particular piece, the ensemble recognized the need for a central conductor to direct the performance.

52
Q

Conductor

Score reading

A

As the conductor reviews the music in its entirety with each part listed in relation to the other parts, he or she should be able to visualize how the music should sound when played in full. The score delineates how each musical section or family should participate in each measure, as either playing or resting, and lists this relationship vertically for easier reference. Each part is notated on its own staff and any multiple voices of the same part can be further clarified. In condensed or short scores, the entire group of woodwinds or brass may be combined on a single staff, while a piano-vocal score for an opera or oratorio may show the orchestral parts in 2 or more staves with the individual vocal parts each on a different staff.

53
Q

Score arrangement

A

The score is arranged vertically to provide for ease of reading, and the left and right margins of the staves are clarified by a continuous bar line with each measure line vertically identical. The instruments are arranged in parts from top to bottom with the different sections being grouped together for further ease of reading. The groups within the individual sections are also arranged from top to bottom such that the score would show the instruments in order as piccolo/flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, tympani, percussion, piano, harp, first violin, second violin, viola, soloist or choral part, organ, cello, and double bass. The appropriate clef and key register information is shown at each staff. Percussive instruments that have no definite pitch are often written on a single line instead of the full staff.

54
Q

Score notation

A

The first page of the score may list the required instruments and appropriate voicing, such as first, second, and third horn. The larger groups of instruments such as woodwinds or brass may have the section of staves linked together by a bracket at the beginning of the system. Within these sections, any instruments encompassing 4 parts or requiring the use of 2 staves, such as the organ or harp, would also have these staves connected by curved braces. Choir music can be available in part format or partbooks instead of the entire score format as the score format was preferred for the keyboard. Score format was not beneficial for individual performers but would greatly assist in musical study of interrelationships of instruments and musical families and keyboard performance.

55
Q

Orchestra seating

1 of 2

A

On the stage, the conductor should keep the woodwinds in front of the proscenium arch. Woodwinds produce music that radiates outward, and that music should be prevented from radiating away from the audience. The brass and percussion instruments can be set behind the proscenium arch as the sound created by these sections is directional. The conductor should arrange the higher voices at the front and the lower voices at the back so that the first tier will include, left to right, first clarinets, first and second oboe, first and second flute; second tier with second clarinets, bass clarinet, multi-part saxophones, French horns; and third tier with multi-part trumpets, tuba, bassoon, multi-part trombones. The tympani will be at the right back and the percussion at the left back.

56
Q

Orchestra seating

2 of 2

A

Stringed instruments also produce sound that radiates; therefore, the standard orchestra with strings will include 4 first violins, 4 second violins, 4 violas, 4 cellos, and 3 basses in addition to the non- stringed instruments in the orchestra. The same principle holds for the arranging since the lower voices should be behind the higher voices. The first tier will include first violins, violas, first cellos; second tier with second violins, first and second flute, first and second oboe, first and second clarinet, second cellos; third tier with up to 3 trumpets, up to 2 trombones, 4 French horns, possibly 1 tuba, basses. The tympani will be at the right back with the percussion at the left back and any harp or keyboard instrument in the center back. Orchestras with stringed instruments generally do not require full instrumentation for non- stringed instruments since the other instruments could very well overpower the strings.