Process of Reading a Score Flashcards
Transposition Clarinet in Bb
Major 2nd descending
Transposition Bass Clarinet Bb
Major 9th descending
Transposition Alto Saxophone in Eb
Major 6th descending
Transposition Tenor Sax Bb
Major 9th descending
Transposition Trumpet in Bb
Major 2nd descending
Transposition Horn in F
Perfect fifth descending
Transposition Baritone sax in Eb
Major 6th plus 1 octave descending
Transposition English Horn
Perfect fifth descending
Transposition Clarinet in A
Minor third descending
Transposition Clarinet in Eb
Minor third ascending
Transposition Soprano Sax in Bb
Major 2nd descending
List woodwind instruments by score order
Piccolo Flute Alto Flute Oboe English Hornn Eb Clarinet Clarinet Bass Clarinet Bassoon Contra Bassoon
List brass instruments by score order
Horn
Trumpet
Trombone
Tuba
List percussion by score order
Timpani xylophone Chimes Snare drum bass drum cymbals
List strings by score order
Violin
Viola
Cello
Bass
Explain how to read alto and tenor clef
The Alto and Tenor Clefs have two curves that meet in the center. The line on the staff where these curves meet is the note C. These clefs are also called C Clefs for this reason.
The Alto Clef is positioned on the middle line. This line becomes the note C. (This note is also Middle C.)
Tenor Clef the second line from the top becomes the note C. (This is also Middle C, just like in Alto Clef.)
What instrument reads alto clef?
violo
What instrument reads tenor clef?
cello, bassoon
What is the reasoning for using multiple clefs?
The use of three different clefs makes it possible to write music for all instruments and voices, even though they may have very different tessituras (that is, even though some sound much higher or lower than others). This would be difficult to do with only one clef, since the modern stave has only five lines, and the number of pitches that can be represented on the stave, even with ledger lines, is not nearly equal to the number of notes the orchestra can produce. The use of different clefs for different instruments and voices allows each part to be written comfortably on the stave with a minimum of ledger lines. To this end, the G-clef is used for high parts, the C-clef for middle parts, and the F-clef for low parts—with the important exception of transposing parts, which are written at a different pitch than they sound, often even in a different octave.
Explain staccato bowing
The dot indicates staccato bowing, but it can also indicate spiccato. This technique uses a bouncing stroke for each note: the bow loses contact with the string, which continues to ring between the separate strokes. Whether this passage is played staccato or spiccato depends on context.
Explained slurred bowing
A tenuto mark indicates a portato or ondulé, sometimes called louré bowing. These are played on the string; the bow is stopped briefly (as opposed to lifted) to create a slight separation between the notes, but slurred notes are still played in the same bow direction.
Explain an accented bowing
An accent is performed in a manner similar to a dot, only with more bow pressure and a “gutsier” sound. If time allows, the player will usually play a single accented note as a ‘down’ bow. If there are a series of consecutive accents the normal up-down bow stroke is used. A subtle accent is usually implied on the “strong” beat(s) of each measure; however, accents can notated to indicate a change from the time signature’s implied accents or to indicate strong accents within a passage.
Explain marcato bowing
A dot indicates separation between the marked note and the note that follows. A note marked staccato may sometimes be considered “short”; the bow is completely stopped between notes. Depending on context, marcato may be performed on or off the string, the latter being called spiccato.
Explain legato bowing
In legato bowing, several notes are played in one continuous movement of the bow in a single direction. This gives a very smooth sound to the passage played legato, since no attack or break exists between notes. This technique is indicated by a slur between several notes. A slur may be split into several slurs by the player(s), usually because of its length or the player’s interpretation of a passage.
