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Band > Semester 1 Final > Flashcards

Semester 1 Final Flashcards

1
Q
A

G Clef (Treble Clef)

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2
Q
A

C Clef (Soprano, Alto, Tenor, and Bass clefs)

Movable clef:

center = alto clef

pointing to fourth line = tenor clef

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3
Q
A

F Clef (Bass Clef)

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4
Q

accel.

A

Accelerando: gradually faster

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5
Q

Adagio

A

slowly, leisurely

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6
Q

affret.

A

Affrettando: quickening, hurrying

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7
Q

alltto.

A

Allegretto: light and cheerful, faster than moderator, slower than allegro

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8
Q

allo.

A

Allegro: lively, brisk, rapid

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9
Q

andte.

A

Andante: in moderately slow time, flowing easily and gracefully

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10
Q

Assai

A

very

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11
Q

Brio

A

vigor, life, spirit

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12
Q

cresc.

A

Crescendo: a gradual increasing loudness

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13
Q

D. C.

A

Da capo: repeat from beginning

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14
Q

D. S.

A

Dal segno: repeat from sign

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15
Q

decresc.

A

Decrescendo: gradual decreasing in loudness

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16
Q

dim.

A

Diminuendo: gradually softer

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17
Q

dol.

A

Dolce: softly, sweetly, delicately

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18
Q

espress.

A

Espressivo: with expression

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19
Q

Fine

A

the end; the conclusion

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20
Q

ff

A

Fortissimo: very loud

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21
Q

Grave

A

slow, solemn, deep

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22
Q

Grazioso

A

in a graceful manner

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23
Q

Largo

A

broadly, slowly; the slowest tempo mark

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24
Q

leggo.

A

Leggiero: easily, lightly, delicately

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25
Q

marc.

A

Marcato: marked, accented

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26
Q

Meno mosso

A

less motion; slower

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27
Q

mf

A

Mezzo-forte: moderately loud

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28
Q

mp

A

Mezzo-piano: moderately soft

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29
Q

Moderato

A

Moderato: moderately and majestically

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30
Q

mor.

A

Morendo: dying away in tone and time

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31
Q

Pesanto

A

heavy, ponderous; with weight

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32
Q

pp

A

Pianissimo: extremely soft

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33
Q

Poco a poco

A

little by little

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34
Q

Presto

A

quickly; faster than allegro

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35
Q

rall.

A

Rallentando: gradually slower

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36
Q

rit.

A

Ritard: gradually slackening the pace

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37
Q

sfz.

A

Sforzando: with sudden emphasis

38
Q

string.

A

Stringendo: pressing or accelerating

39
Q

Vivace

A

with vivacity; lively, quick

40
Q

Highlander Fight Song

A

Pre- Game - 1 (2x)

By: Dale Gleason

Arranger: Chris Coy

41
Q

Alma Mater

A

Pre- Game - 2

By: Harley Brumbaugh

Arranger: Chris Coy

Title: Green, Gold, and Blue

42
Q

The Star Spangled Banner

A

Pre- Game - 4

Lyrics: Francis Scott Key

By: John Stafford Smith

Arranger: Andy Clark

43
Q

Bow Down to Washington

A

By: Lester J. Wilson

UW

Genre: Fight Song

44
Q

Da Vinci

A

By: Weezer

UW

Game #2 - 1

Genre: alternative rock, power pop

45
Q

Fireball

A

By: Pitbull

Game #1 - 2

Genre: samba, eurodance

46
Q

Shake it Off

A

By: Taylor Swift

UW

Game #2 - 2

Genre: dance-pop

47
Q

Shout it Out

A

By: Too $hort & Bun B from “Drumline”

Pre- Game - 3

48
Q

Shut Up and Dance

A

By: Walk the Moon

Game #3 - 2

Genre: new wave, power pop, indie pop, dance-rock

49
Q

Sir Duke

A

By: Stevie Wonder

UW

Game #2 - 3

Genre: runk, R&B, disco

50
Q

Take on Me

A

By: A-HA

Game #3 - 1

Genre: new wave, synthpop

51
Q

The Imperial March

A

By: John Williams

UW

Genre: film soundtrack

52
Q

The Safety Dance

A

By: Men Without Hats

Game #4 (Homecoming)

Genre: new wave, synthpop

53
Q

Turn the Beat Around

A

By: Gloria Estefan

Game #1 - 1

Genre: disco, Hi-NRG, dance-pop

54
Q

Pre- Game

A
  1. Highlander Fight Song (2X)
  2. Green, Gold, and Blue
  3. Shout it Out (optional)
  4. The Star Spangled Banner
55
Q

Game #1

A
  1. Turn the Beat Around
  2. Fireball
56
Q

UW

A
  1. Bow Down To Washington
  2. Da Vinci
  3. Shake it Off
  4. Sir Duke
  5. The Imperial March
57
Q

Game #2

A
  1. Da Vinci
  2. Shake it Off
  3. Sir Duke
58
Q

Game #3

A
  1. Take on Me
  2. Shut Up and Dance
59
Q

Game #4 (Homecoming)

A
  1. The Safety Dance
60
Q

Holiday Gala Concert

A
  1. A Holiday Montage
  2. ‘Twas the Night Before Christmas
61
Q

A Holiday Montage

A

Arranger: Gary E. Parks

62
Q

‘Twas the Night Before Christmas

A

Words: Clement Clarke More

Arranger: Jack Bullock

63
Q
A

Staccato: to play the note very short and detached

64
Q
A

Accent: to hit the note harder and louder

65
Q
A

Marcato: almost a combination of staccato and accent, provides a sharp sound

66
Q
A

Tenuto: hold the note for its full value

67
Q
A

Sforzando: a sudden, strong accent

68
Q
A

Fermata: hold the note longer, approximately half again as long (1.5x), or until conducted to stop

69
Q

Attention

A

Response: “go Hazen High”

  1. “go” - snap up the left thigh to a position parallel to the ground; calf forms 90 degree angel with thigh , toe points down
  2. “haz” - snap left foot to gound directly beside the right
  3. “en” - snap right foot directly to side( shoulder wdith); foot does not touch the ground; body does not lean. Toe points straight ahead,not upward or toward the ground
  4. “high” - snap right foot beside the left in position of attention; simultaneoulsy, instrument is moved as designated by section
70
Q

Right Face

A

Response: “and one (pause) two”

  1. “and” - snap up left heel and take the weight off the right toe; heel of the right foot, ball of the left remain on ground
  2. “one” - spin 90 degrees (to the right on the heel of the right foot and the ball of the left)
  3. “two” snap left foot next to right at the position of attention; this should be executed by sliding the ball of the foot along the ground in a snappy manner; ball and toe of right foot comes down
71
Q

Left Face

A

Response: “and one (pause) two”

  1. “and” - snap up right heel and take the weight off the left toe; heel of the left foot, ball of the right remain on ground
  2. “one” - spin 90 degrees (to the left on the heel of the left foot and the ball of the right)
  3. “two” snap right foot next to left at the position of attention; this should be executed by sliding the ball of the foot along the ground in a snappy manner; ball and toe of left foot comes down
72
Q

About Face

A

Response: “and one, two, snap, four”

  1. “and” - snap up the left thigh as in the attention fundamental
  2. “one” - snap the left fooot beside the right as in the attention fundamental
  3. “two” - crisply place the right foot 22 1/2 inches in front of left, leading with a pointed toe and placing the toe slightly to the left of center of the left foot; weight should be kept off of your right toe until the next movement
  4. “snap” - spin counterclockwise (to the left) on the middle of the left foot (this insures ending on the same spot) and the ball of the right; weight remains on the left side
  5. “four” - snap the right foot next to the left in position of attention
73
Q

MT

A

Mark Time

Command: “band, mark time mark”

Response: “up”

  1. “up” - snap up the left thigh into chiar position as in the attention command
  2. “one” - the left foot touches the ground, toe/ ball first, while the alternate (right) thigh snaps up to position, parallel to the ground (chair position); movement continues on each beat alternating legs, usually finishing with the left foot snapping down next to the right as in the position of attention; body weight should be kept slightly forward the upper body remains perpendicular to the ground
74
Q

FM

A

Forward March

Command: “for-ward march”

Response: “up”

  1. “up” - left leg is lifted into chair positon as in mark time
  2. “one” - ball of the left foot touches the ground 22 1/2” in front of its original position (unless otherwise specified), weight shifts to the left side with shock absorbed by pointed point and ball as they touch the ground, and right leg lifts parallel to the ground with toe pointed
  3. “two” - ball and toe of right foot touches the ground 22 1/2” in front of where the left foot landed; weight shfits to the right side with shock absorbed by pointed toe and ball as they touch the ground; weight remains slightly forward as movement progresses in order to keep body perpendicular to the ground
75
Q

RF/ LF

A

Right/ Left Flank

  1. “five” - left foot hits ground in step
  2. “six” - right foot hits ground in step
  3. “seven” - left foot hits ground in step
  4. “eight” - right foot hits ground in step
  5. “flip (and)” - spin 90 degrees to the right or left (as directed) on the ball of the right foot (pivot); carraige of instrument and paying posture should not be latered as a result of this turn/ pivot
76
Q

TTR

A
  1. “five” - left foot hits ground in step
  2. “six” - right foot hits ground in step
  3. “seven” - left foot hits ground in step
  4. “eight” - right foot hits ground in step
  5. “flip (and)” - spin 180 degrees to face the opposite direction; alwasy turn in counterclockwise direction (to the left)
77
Q

STL/ STR/ SA

A

Slow turns to the right or left (STL/ STR) should take 4 counts, slow about turns (SA) should take 8 counts

78
Q

Up

A

moving away from the director’s (home side) viewpoint

79
Q

Down

A

moving toward the director’s (home side) viewpoint

80
Q

Side 1 and Side 2

A

from the director’s (home side) viewpint, side 1 is on the lef, side 2 is on the right

side 1 is sometimes called “side A” and side 2 “side B”

81
Q

Yard Lines

A

There are 21 yard lines on an American football field. THe center line is the 50 yard line. Yard lines count down in 5 yard increments to the gol line, also called the 0 yard line. The band performance area includes the end zones whcih extend 10 yards past the goal line.

82
Q

Inside

A

toward the 50 yeard line

83
Q

Outside

A

toward either end zone, away from the 50 yard line

84
Q

In front of

A

toward the director’s (home) viewpoint

85
Q

Behind

A

away from the director’s (home) viewpoint

86
Q

Sidelines

A

The sidelines are the front and back boundaries of the football field. The front sideline is nearest the firector’s viewpoint. THe bac sideline is on the opposite side of the field. In marching band the performance area extends 12 feet in front of the front (home) sideline. It extends behind the back (visitor) sideline, all the way to the backfield stands.

87
Q

Steps

A

In marching band we measure distance in “steps.” There are 8 steps in 5 yards. One “8 to 5” step is 22 1/2 inches.

88
Q

Hash Marks

A

The hash marks intersect the yard lines 24 steps away from the side lines. The front hash is nearest to the director’s viewpoint. The back hash is nearest to the sidelines. Competitions on college fields will have both sets of hash marks.

89
Q

Vertical Hash Marks

A

The vertical hash marks are not always marked, but when they are, they show one yard increments. A copetition on college fields, the vertical hash marks will be 4 steps behind the regulation hash marks.

90
Q

How to Tune (Flute)

A

Flat: push in head joint, roll out lip plate

Sharp: pull out head join, roll in lip plate

Band (1 decks)

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