'INIGIACION MUSIGAL

Talleres y teoria
Decimo grado

Prof. Eliecer Herrera

Solfeo Rtmico y Meldico

La Banda de Percusin
La Orquesta

Teora General de la Msica

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Lectura Melodica. contin...

[Subtitle]
redonda, blanca

[composerl IAnanger]

y silencio de blanca

Flute

l5

negras

y silencio de legra

2t

27

33

Fine

39"

45

IA

Score

lectura.. continu acion

[Subtitle]
blancas, negras

IComposer] IAnanger]

y silencios

de negra

Flute

negras, blancas, redond4 silencios de blanca y negras

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7.

THE LONG HAUL

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8. FOUR BY FOUR
BLR

Practice Right Hand Lead os marked.

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Repeat

Sign

Count&Tap:1*2&3&4&

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2&

3&4&

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9.

TOUCHDOWN
L

10.

THE FAB FIVE Risht Hand Lead

RFtr

'r &2&3&

4 & 1 & 2&3&

Snare Drum

4st

1 &2&3&

4&

1 &2&3&

4&

BqSS DfUm

t , E {7Bass Dru,n y' I

The bass drum is one of the most mportant instruments in band. Hold the bass drum mallet with your right hand (matched grip). Place your left hand on the head opposite the striking surface. Strike the bass drum half-way between the center and the top rim, pulling the sound out of the bass drum, B.D. is tlLe abbreviation for bass drum,

o o o

I t. READING THE NOTES

F

Compare this to exercise l1,THE FAB FtVE

S.D

RR

LBLR

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1& 2 a 3 & 4
12,
S,D-

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1&

2 & 3 & 4

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&

2 & 3 & 4

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t.

FIRST FIIGHT

i,
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ESSENTIAL ELEMENTS QUIZ
Fill in the remaining note names before playing.

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6-A

14. ROILING ATONG

S.D,

RL

Holf Note
)n=2Beats I & 2&

Holf Rest
= 2 Silent
Beats

1& Z&

15.
Clap

RHYTHM RAP

Clap the rhythrn while counting and tapping.

&3&4& t&2&3&4&

l &2&3&4&

l&2&3&

l&2&3&4&

Alfernqte Sticking

A hand to hand sticking pattern usually beginning with the right hand.

Boss Drum

when playing half notes, use a slower stroke

to

pullthesound out of the bass drum.

16. THE HAIF

FlLRta

COUNT5

Practice Alternate Stckng as marked

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17.

HOT CROSS BUNS

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9'

ESSENTIAL ETEMENTS

QUlz

lJsing the note nomes and rhythms below, draw the merody notes on the staff before praying

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Whole Note
=4
Beats

Whole Rest
A Whole Measure

Whole

Rest

Half Rest

-*-r
hangs
a staff

of Silent

Beats

_
from line.
sits on
a

1&2&3&4& ->

&2&3&4&

staff line.

20,

RHYTHM RAP

Clap the rhythm while counting and tapping.

1a2a3&4

&

&2

&3&4

&'1

&

2 & 3 & 4 a'1

&

2 & 3 s 4 al1 & 2 & 3 & 4 &', uroruou'll

I

Muttiple Bounce

Multiple bounce sticking is your first step to learning the roll. Simply let the stick bounce freely on the drum head, like this:

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RFFRnnnLLLIr-rL

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Special Percussion Exercise

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Keep counting and maintain a steady tempo.

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THE WHOLE THTNG FLRLFT

Practice this exercise with Alternate Sticking.

R,LRLRLFL

Duef

A composition with two different parts, played together.

Bqss Drum

when playing whole notes, use a very slow, long stroke

to pullthesound out

22.

SPIIT DEC|S|ON
RLRIE

- Duer

PIay

your percussion port as the brass and woodwinds ptay their duet parts.

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26.

ESSENTIAT ETEA4ENTS QUIZ

Drow in the bar lines before you play.

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Fermqfo

Hold the note (or rest) longer than normal.

RUdimenfS

Rudiments are the basic techniques of playing snare drum. You should practice and memorize rudiments to improve your skill. The flam is your first rudiment.

Flom

---rl-

-.|-_

The small note is a grace note. lt has no rhythmic value and sounds just ahead of the regular sized, or primary note. The primary note sounds on the beat.

rR

Right

Hond Flqm 4r=

nL

-*_]_-

Hold the left stck about 2 inches above the drum head. Hold the right stick in the "up" position. Move both sticks at the same speed. The left stick will hit the drum just before the right stick. Let the left stick rebound to the "up" position, and the right stick rebound to the 2 inch position, Hold the right stick about 2 inches above the drum head. Hold the left stick in the "up" position. Move both sticks at thb same speed. The right stick wll hit the drum just before the left stick, Let the right stick rebound to the "up" position and the left stick rebound to the 2 inch position.

left Hond

----+--+---

Flom

--1t---i-

A flam produces a sound that is slightly longer than a regular note (a tap). Listen to the difference between flams and taps.

27.

REACHING HIGHER rR nL

Fermata

28.

AU CLAIRE
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LA IUNE
L iF

French Folk Song

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Hormony
Two or more notes played together. Each combination forms a chortl. Listcn to the band's harmony while you play.

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English Folk Song

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30.

TONDON BRIDGE

Mark your own sticking before you play

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agesix,andlivedduringthetimeof theAmericanRevolution. Mozart'smusicismelodicandimagina-tive.

Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at

than 600 compositions during his short life, including a piano piece based on the famous song,,,Tirinkle,Twinkle, Little Star,,,

Hewrotemore

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Triongle

fingers, Trl.

The triangle should be suspended on a clip and held at eye level. Use a metal triangle beater and hit the triangle opposite the open end. To stop the sound, touch the nstrument with your
is

the abbreviation for triangle,

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s.D.

A MOZART MELODY

Adaptation

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32.

ESSENTIAL ELEMENTS QUIZ

Draw these symbols where they belong and write in the note names before you play:

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Eighth Nofe & Eighth Rest

Each Eighth Note or Rest = l/z Beat 2 Eighth Notes or Rests = 1 Beat

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Eighth Notes groups have a bean

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2-note

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33.
RL

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beam

4-note beam

DEEP POCKETS
FFL

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2&3&4&
RIR

34.

DOODTE

Att

DAY

Mark the sticking before you play.

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Doubling or Double Sticking

35. JUMP ROPE
n, L___L R, L-_!-

A pattern in which two consecutive notes are played with the same hand (R Double Stcking, or Doubling is an important skill for snare drum.

R L L, R R

L).

Fallow the Double Stickine carefully and strive for

consistent sound
R

R Ft L

Pick-Up Nofes Rudiment

Porodiddle

One or more notes that come before the first ful/ measure. The beats of pick-Up Notes are subtracted from the last measure.

A snare drum rudiment (see measure 7.)

3.

A.TISKEI, A.TASKET Pck-upR R L R L R note -

RLRRLRLL

Paradiddles

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Dynomics

- forte (play loudly)

lift sticks higher

mf -

mezzo forte (play moderately loud) normal stick height

- piono (play softly)

brin_q sticks close

to head

rl 37. LOUD AND SOFT

Clop

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38.

JINGLE BELLS

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39. MY DREYDL
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Practice"Doubling"inthisexercise.

Traditional Hanukkah Song

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40. RHYTHM RAP CIap the rhvthm while counting and tapping'
Clop

1&2&3&4&
Multiple Bounce Eighth Notes
RLRLRLRL
Special Percussion
Exercse

&4&

&2&3&4&

1&2&3&4&

RLRLRLRL

RLRLRL

RLRLR

F F 3{ F cd F c sa G#
Jrt Gd
4{

Connect

fr

,othe bounces sound even and consistent.

4T.

EIGHTH NOTE JAM

1& 2 & 3 & 4

&

1&2&3&4&l&&5
One single cymbal suspended on a stand. Always use yarn mallets, not is the abbreviation for suspended cymbal'

Suspended Cymbol

timpani mallets. Sus. Cym'

42.

SKP TO MY tOU mf s.D

I

American Folk Song

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43. [ONG, IONG

AGO

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WOOd BIOCk

Cup your palm to form a resonating chamber under the wood block. drum stick if necessary' Cuived wood block-strike on top near the center using a hard rubber maltet or snare You block-the best sound is toward the edge of the top surface near the side with the open slit' Flat wood A drumstick does not produce a good sound should use a hard rubber mallet or wooden xylophne mallet.

on a flat wood block. Wd. Blk. is the abbreviation for wood block'

44. OH, SUSANNA

Stephen Collins Foster

t t p ir

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proficient on the piano, Italian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very of his forty operas, and its familiar theme is still heard today on viola and horn, He wrote "William Tell" at age 37 as the last radio and television.

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Ft Ff
Fo

Crosh Cymbols

Hold the left cymbal in front of you at a slight angle. Allow the right cymbal to be positioned slightly above and slightly in front of the left cymbal' Learn the basic stroke for a quarter note. Using a glancing stroke (and gravity), allow the right cymbal to drop into the left cymbal and follow throughl This same motion is used for hlf notes, but slower in speed, For whole notes, the same motion is slower than for half notes'
To stop the sound of the cymbals, bring both edges of the plates against your body.

kr kr

tr h.

h hn

Choke = muffle (or stop) the sound immediately. Cr. Cym. is the abbreviation for crash cymbals.

45,

ESSENTAL ELEMENTS

nf

QUIZ

WIIIIAM

TELL

Gioacchino Rossini

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Time Signofure :3, 2 beats oer measure _t]--!})r'1+- = Quarter note gets one beat -

Conducting
Practice conducting this two-beat pattern.

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46,

RHYTHM RAP

c e,a

errt

-l---j---r
Rudimenf
Flom ToP
will After you play a flam, play a tap, always with the low hand' This rest of the exer cise' keep your hands correctly positioned for the Remember, a tap is played with the stick closest to the drum head'

Solo

leading part' ln ensemble music,5o/o marks a passage where one instrument takes a places marked 5olo. ln the next exercise,the Bass Drum is featured in the

4V. TWO BY TWO

(measures I and 2) to the regular floms in measure 3 Be careful to montan the same tempo when going from flam taps

BR

Tempo Morkings

Tempoisthe speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo

SCHOOI CADETS

Morch
John Philip Sousa

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slowet motion on half note crashes.

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TqmbOUring

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49,
S,D.
Moderato
I

Hold the tambourine steady in your left hand at a slight upward angle. Your right hand strikes the head of the instrument according to the written dynamics: Soft light sounds use one or two fingertips near the edge of the head. Medium loud sounds use tips of all fingers one-third of the way from the edge to the center. Loud sounds knuckles on head, half-way between edge and the center' Use a motion similar to knocking on a door.

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HEY, HOI NOBODY'S HOME

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Dynomics
Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer)

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ctap

so.

GLAP THE DYNAMTCS

--L-+-{

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l il a SuSpended Cymbol Roll '
With yarn mallets on a suspended cymbal, use a rapid series of alternate strokes on the opposite edges of the cymbal (3 o'clock and 9 o'clock). Increase the speed of the roll to build an effective crescendo'

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Sus. Cym.

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Ft 5r.

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PIAYTHE DYNAMTcs

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52.
PERFORMANCE WARM-UPs
TONE EUILDER

c o

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36

RHYTHM ETUDE

RHYTHMRAP

Remember: how your hand strikes the tambourine is determined by the dynamics

let Ring
CHORALE
Andante
Sus. Cym.

,l^=

The same effect is sometimes marked /.v. (let vibrate) or /.r. (let ring)'

L.tthesoundcontinueto"ring"wthoutstopping. ltisacommonindicationfortriangleorcymbals.

p
Remember: start softly to make an effective crescendo'

mf

LetthesoundconJnue.

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Triongle

"fundamental" sound. Striking the side opposite the open end will produce a produce a sound with more overtones (ringing). Strikini the bottom leg will with music. lt's your choicel Listen io the band anddecie which sound works best

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53.

AURA
p

LEE

- Duef or Bond Arrongement

Sus, Cym

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Fa

F 54, FRERE Fr Moderato

JACQUES

- Round

(when group A reaches@,group B begins at@)

French Folk Song

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Wood Block

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S.D.

THE sAtNTs

Go MARqHING N - Bond Arrongement

fTf -.t Meosurenuntber

Arr. by John Higgins

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Cr. CYm.

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Sus, Cym. wth Sticks

When playing sus.cym,with sticks,the best sound is usually one thircl or one half the distance from the edge to the dome

56.
S.D.

OLD MACDONATD HAD A BAND

- Section Feoture

Allcgro

Sus. Cym. with sticks

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After repeatng, go on to next Poge

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ODE TO JOY

(from Symph hony No. 9)

Modcrato

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L,rdwig van Beethoven Arr, by John Higgins

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(Remember: Fundamental or overtones your ( r choice) -

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BLUES

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sricrs
t

J-.J-.il

J-J-J-:]

T:, Tambourine

rtt
i"l

llrt
(Sob)

| '/l

l'lllt
l

t i" l I' r
t '/t
t)
I

ffl-1

,Tfi rl J.] JJ
lltl

f I

JJ J
f

f
]

l""l

(soto)

JIJIi JIJI)
a

J-J-l-l

i-J-it
) a

ta

Inli

Gelting lt Together
step t
step step

2
3 lt 5

fJr:fl:iJ?jTrf
teacher.

Stand in a comfortable position near the instrument. The raised keys should be pointing away from you. bells' set the instrumenr on a tabre or stand about waist hish. rhe rarser iijrT:

Adjust the music stand to about eye level. This enabres you to easiry read the music and watch your

p t t
il r
*

Sep

Hold the mallets as described on page

The sequenle of

2.

Slep

for all keyboard percussion nstruments levs is the same as the piano. Notce sequence is in alphabetical order from that the A-G. This diagram of orchestra bells will help you find F. yourteachertohelpyouplayFifyouareplayinguJn

r"n,keyboardpercussioninstrument.
rt/cb
Gi

Ask

Gi/Ab N/Bb ct/Db Di/Eb F#/cb Gl/Ab N/Bb cl/Db D#/Eb

/Ab

Ai /Bb

tf

o.

o a s c

t t b
t
)
)
)
)
)
)
)
,

I I

A.

B
E

GAR.
Your first note is F.

READING IVIUSIC
Music Sfoff

t
ldentify and draw each of these symbols:

Ledger

tin.,

Meqsures & Bor Lines

Meosurc

il
I

- written. are
The music staff has 5 lines and 4 spaces where notes and
rests

----_=I
8or Line

Mealre

1,r
I

I
Bar Line

I
Bar Line

Ledger lines extenC the music staff. Notes on ledger lines can be above or below the staff.

Bar lines divide the music staff into measures.

3T

long

Tone

H
new note.

As wincl players learn Long Tones, keyboard

percussionists use a special Legato Stroke.

I.

THE FIRST NOTE

Play a legato stroke for each

(U

_Q,H

t t t

&
en

F
The Beot
The beat is the pulse of music, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat, Tap your foot down on each number and up on each "&,"

Notes And Rests

Notes tell us how high or low to play b their placement on a line or space of the music staff, and how long to play by their shape. Rests tell us to count silent beais.

Onebeat =

I & J1
A hand

a Cil a t

Note = Quarter Rest =

Quarter

1 beat
1

silent beat

Alternofe Sticking
RLRL

to hand sticking pattern usually beginning wlth the right hand.

2. COUNT AND PLAY - Alternofe Sticking

& Count:1&2&3&4 Tap: l1 1 1 I

1&2&3&4&

Jli,

lJtjt

1&2&3&4&

tlttl

1 &2&3&4&

ttllJlll

3.

A NEW NOTE
This note
is "Eb

(E-flat)."

o(E

o(E)

Eb
4,
TWO'S A TEAM R'L
v

Count&Tap:1&2&3&4&

1&2&3&4st
it

'l &2&3

8.4

&

1&2&3&4&

5. HEADING DOWN

\7

E>

t{ts> I

Double Sticking
6. MOVING ON UP RRLLR

A pattern in which two consecutive notes are played with the same hand (RRLL, RRLL). This pattern may begin with either a double right or double left sticking.

- Double

Sficking

,
Count&Tap:1&2&3&4&
ldliJ!+:

1&2

& 3 & 4

1&2&3&4&

c
o o o
C

o o

Double Bor

indicates the end of a piece of music.

Repeof Sign

Without stopping, play once again from the beginning.

7. THE LONG HAUL

Double Bar

c
8" FOUR BY FOUR
R

{| 9.

o ff {t

rt

o o

LRL

- Alternote

Sticking
R

Repeot Sign

v
-tt,

I--\-

Count&Top:

1 &

&3

TOUCHDOWN

ilt

rt
r0.

r|D

Bb
THE FAB FIVE
L

t t t t il t t tl t
t
J

il

ie

RBLLR
La

- Double
[-a

Sticking
tt,
vtvlt

vL,

vv

lra

vtv

1&2&3 Treble Clef

(G Clef)

&4&1&2&3&4&

1&2&3&4&1&2&3&4

Time Signoture

Nofe Nqmes
Each note is on a line or space of the sta'f These note names are indicated by the Treble Clef.

indicates the position of note names on a music staff: Second line

is G,

\/

indicates how many beats per measure and what kind of note gets one beat.

= =

4 beats per measure Quarter note gets one beat

{ EI o
=

Shorp Flot NqtUfgl

fi I !

raises the note and remains in effect for the entire measure.

lo*.rr the note and

remains in effect for the entire measure,

cancels a flat (b or sharp ($) and remains in effect for the entire measure.

6)

) I I .

READING THE NOTES

Compore this to exercise 1I,THE FAB

F|VE.

) ) 12. ) r3. ,

2 &3
FIRST FTIGHT

&

ESSENTIAL ETEMENTS

QUIZ

Fitlin the remaining note names before playing.

n
BbCD

3q

Notes In Review 14.

-ta--t--

-tAtternatestickno

,Eb bf-

Bb

-t-

-F
Go to the next

oQ-

ROLLING ALONG

line.

Hqlf Note
)*=2Beats 1&2&
I

Hqlf Rest

= t--?t{^
1&2&
t
while counting and tapping. RepeotSign
I

i
I

5. RHYTHM RAP Clap the rhythm

Clop

Iti

'l&2&3&4&

1&2&3&4&

t&2&3&4&

1s,2&3&4&

1&z&3&4&

.l&2&3&4&

Combinotion Sticking 16. THE HAIF CCUNTS

A sticking pattern that combines both atternate and doubte sticking.

Combination Stickins

LRL

1&2&3&4&

1&2&3&4& 1&2&3&4&

1&2&3&4& I&2&3&4&

.1

&2&3&4&

17.

HOT CROSS BUNS

Right Hqnd Leod

A sticking pattern that begins with the right hand and keeps the right hand on strong beats.

18. GO TEtt AUNT RHODIE Risht Hand Lead

R R L R F R R,L R
L

LRLR

American Folk Song

9. ESSENTIAT ELEMENTS QUIZ

using the note names and rhythms below, draw your notes on the staff before ptayng.

))))))) E6FEbDEbDC

)
Bb

)
c

)))) DIEbDEb

Llo

) )

Whole Note
O--------------)
=4
Beats

Whole Rest
A Whole Measure of Silent Beats

Whole

Rest

Half Rest

I
) ) ) ) )

) ) ) )

1&2&3&4& 20. RHYTHM RAP Clap the rhythm

1&2&3&4& 1&2&3&4& THE WHOTE THING

1&2&3&4&
while counring and ropping.

hangs
a staff

from line.

sits on a staff line.

1&2&3&4&

1&2&3&4&

1&2&3&4&

1&2&3&4&

21,

I t

1&2&3&4& DUgt

1&2&3&4&

1&2&3&4&

1&2&3s44

1&2&3&4&

1&2&3&4&

A composition with two different parts, played together. Practice this duet with a friend or play both parts yourself.

t t t ) t
) ) ) ) )

22.
A

SPIIT DECISION

- Duet

ulll
A B

Key Signoture
Left Hqnd leod

The Key Signature tells us which notes to play with snarps music. Your Key Signature indicates the Key of
Bb

(fi)

or ttats (b) throughout the

E's

play all Bt as B-flats, and

as E-flats.

{ t o F

A sticking pattern that begins with the left hand and keeps the left hand on strong beats.

t I
I I I I I I
)

23,

MARCH 5TEP5 LRLR

Left Hand Lead

LLRLFI

LRLLRLRL

) )

S Ploy

Bb's

ond

Eb's

24,

TISTEN TO OUR SECTIONS

Woodwinds
Brass

Woodwinds

Brass

Brass

All

i
I

1'r
I

Simile

Gn.)

Continue playing in the same style

Right Hand Lead
sint.

25. UGtiTrY ROW

ti
I
D

26. ESSENTIAI

ELEMENTS QUIZ

Draw in the bar lines before you play

n
qrt
}ilr;

il

Fermofq

Hold the note (or rest) longer than normal.

27,

REACHING HIGHER

- New Note.

Fermato

28, AU CI.AIRE DE
LRLR

LA LUNE
L R

Left Hand Lead

sim.

French Folk Song

29.

REMIX

o tt
l-

Hormony
LONDON BRIDGE

Two or more notes played together. Each combination forms a chord.

30.
A

- Duet

English Folk Song

a)

Ar

o F

Austrian composer Wolfgang Amadeus ihorart (1756-179'l ) was a child prodigy who started playing professionally at

agesix,andlivedduringthetimeof theAmericanRevolution. Mozart'smusicismelodicandimaginative. Hewrotemore than 600 compositlons during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little Star."

3I.

A MOZART METODY
RRLLHRL.rim.

Double Stickins

Adaptation

q
q d d
ESSENTIAL ELEMENTS QUIZ
Draw these symbols where they belong ond wilte n the note names before you play:

q q

32.

$,lt

n
T
4A

I
I

tr

33. DEEP POCKETS - New

AF
34.
DOODLE
RR

Note

'l
l

t.l
l

ALt DAY
LL
R

Combination Sticking

ILRRLR

35.

JUMP ROPE

Pick-Up Notes

One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure.

3.

A-TISKET, A-TASKET Combination / Pck-up note

Sticking

4&

1&2&3&4& mf - mezzo forte (play moderately loud) - forte (play The higher you lift the mallet, the louder the note will sound.

1&2&3&

Dynomics

loudly)

7t - piano (play softly)

37.
Clap

.OUD AND SOFT

f
38.
JINGIE BEttS
J.5. Pierpont

39. MY DREYDT
Traditional Hanukkah So

.i

t_1,3

&

10

Eighth Notes

f)
1&

j*
Note =
1/zBeaf

J--'

Each Eighth

2 Eighth Notes = 1 Beat Ploy on down and uP ta7s,

,-: ,-: 1&2&

andtapping'

Two or more Eighth Notes have a beam

across the stems.

Beam

--=,t aaaoaaao

40. RHYTHM RAP Ctapthe rhythmwhilecounting

1&2&3&4&

1&2

41.

EIGHTH NOTE JAM

J'r

42.

SKIP TO MY tOU LRL F

Alternate Sticking

American Folk Song

RLR

LONG, LONG AGO

44. OH,

SUSANNA

Stephen Collins Foster

4
6

o F 45.

proficient on the piano, Italian composer Gioacchino Rossini (1792-l 868) began composing as a teenager and was very its familiar theme is still heard today on vbla and horn. He wrote,,Willam Tell" at age 37 as the last of his forty operas, and radio and television.

ESSENTIAL ELEMENTS QUIZ

WILLIAM

TELL

Gioacchino Rossini

n
t44

a o o

, Time Signofure
)& -(Wa)

Conducfing
= 2 beats Per measure Quarter note gets one beat
Practice conducting this

two-beat pattern.

tl\r, rt\ \

{
t

\);z

ct

46.
Clap

RHYTHM RAP
fl
q

0
O

o o

1&2&

1&2&

1&2&

47.

TWO BY TWO

tl 0

fa

il

Tempo Morkings

Tempoisthe speed of music. Tempo markings are usually written above the stafl in ltalian. Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo

il

df 49. HEY' HOI NOBODY'S HOME - New Nofe

t dr t t

k. 48. HIGH SCHOOL CADETS - Morch

Allegro

.John Philip Sousa

l
fl il

Ff
R{

t t

It

GF
Dynomics

IVloderato

-\G

Crescendo (gradually louder)

Decrescendo or Diminuendo (gradually softer)

l

F{

R{r

50.
Clap

CIAP THE DYNAMICS

l
l

5I.

PLAY THE DYNAMICS

Lll

PERFORMANCE SPOTTIOHT
52.
PERTORMANCE WARM.UPS
TONE EUILDER

RHYTHM ETUDE Combination Sticking

RLRL

RLLA

RHYTHM RAP

CHORALE

MelOdiC StiCking

line. An approach rhat combines all the various stickings to create the best performance of the melodic

'53.
-1-,.'i'r'F /A

,AURA tEE
Andante

Duef or Bond Arrongemenf

RLR RLRL
2_
R

Melodic Sticking with Doublings

George
R.

(Part A = MelodY, Part B = HarmonY)

LFLR

Poulton

ol
Ar

"fRL "f
RLR

p
RL

R LF

RLRL

RL

R LR

LRL

R LR

-rAds

,i1c.
A

RLRL

A
I

umf
ATRLR

-p
LRL R LR

RL

"f
R

p
R

R .L

RL

RL

__p

"*f
54.
FRERE JACQUES
Melodic Sticking

=::>nlP

Round

(when sroup A reaches@,group Bbegins at@)

Moderato

-f

i
I

J,I

,{

I
) )

PERFORMANCE SPOT!.IOHT
Allegro

t 55. WHEN THE

SAINTS GO MARCHING lN - Bond Arrongement lTl -l Meosu re number

t
D

n
f,

5.

OLD MACDONATD HAD A BAND

Allegro

- Section Feqture

2nd time go on to meas.13

rl ;o t r t

FO

il D ilt ill

e t

57.

ODE TO JOY
Moderato

(from SYmPhonY No' 9)

Ludwig van Beethoven Arr. by John Higgins

Flr

FID

bo

FO

ko

58.

HARD ROCK BLUES

Allegro

- Encore

John Higgins

h. h.

ko ko ka
J

h-

ffi";;; "scriuen c1u medio tono a la nota indica que se eleva 1 E1 sostenido tll"rru.
del soste *"l"taelefecto otro signo, elbecuadro Hay nota y d.1;;*;1 defando ta 'oni" bemor doble sostenido Y Tambin se usa el bajan un tono respectivamente'

cambio olteracifu signos We lndican Hay en musica dos swrvr pvY--- t!r: 'irn t el tono original' 'E[uD eltono oflgmal' A encabe-zamieftto afectan la nota {ue aites e todr ltimo caso' afectan oentagma o esPacio'

ffi;;;;-t:*:

"],u;:l;"O*,ffi

;t*t

t*ui"ii'-*o "'* en esalnea

El bemol, qlre

se

la nota' baia medio tono a

**

1;;;;:

t,,

O*,

-*"" t

y descendentemente'

'1f

l.
I

Antiguamente casi toda

la msica era vocal, y hs pq

instrumentos que existan se usaban como respaldo de para acompaar los bailes.

lc c

En un principio esta msica vocal era monofnic (a t'rq vt pero por el siglo XII los compositores hicieron uso de combinacftr de voceso 1o cual los llev a la polifonla, o sea mrisica r varias voces. Mas tarde compusieron msica para ser tocada instrumentos solos. Las combinaciones alcanzadas con las disfir voces humanaso fueron tambin tocadas por los instumtm'

De este modo empezaron a aparccer pequem gntpc intrpretes instrumentales que tocaban en dos, tosr coE
quintetos, sextetos, orquestas de cmara,
grandes orquestas.

posteriormenE'

adelante, el perfeccionamiento & instnrnaentos hizo que aume4tara no slo el nmero de sfc s el nmero de msicos en las agrupaciones instrumentales. Lo r comenz con un pequeo grupo de teinta intrpretes, alca con Wagner en el siglo XIX el nmero de 100 integrantes. Co consecuencia de este desarollo, se prest gran atencin a los efe de timbre y a la dinmica. Desde principios de este siglo una orqut sinfnica o filamrnica cuenta con 120 msicos, miis o me,nos.

Del sigto XVI en

Los instrumentos que comporen la orquesta sinfnica clasican en tres grupos: a) caerdas, b) viento y c) petcwi
adems

hay instrumentos especiales.

Los instrumentos de cuerda (ms de la mitad de la orqe producen sonido al ser frotados con el arco. (Hay otros cuyas ctra son punteadas y otros, percudidas. ) Los instrmentos de cuerda Enalo4Qea;Fh'!as,o!qe, el vbln,la viola, el violonchelo y el contrabaio. De la longihr grueso y la tensin de las cuerdas depende la altura de los tonoe Como ingles se pueden producir; por eso, el ejecutante hace mas o menos agud sonido al presionar la cuerda con los dedos, acortando o extendie la seccin vibratoria. Estos instrumentos tienen cuatro cuerdas son afinadas por medio de clavijas; su sonido es aumentado rc caja de resonsncia. En los insffumentos de cuerda pueden obten variados efectos en la interpretacino como el glissando (resbal el pizzicato (pellizcar) y eL trmolo (repeticin rpida de una nr En el orden: Clarinete, Clarinete En orden de tamao, tenemos el violn y la viola que se colocu Fagot, Contrafagot
bajo,
t'

i
tl \,

4q

el hombro y bajo la barbi[a; el olonchelo que descansa en el suelo y que obliga al ejecutante a tocar sentado, y el contrabajo que porlu tamao ene que ser tocado de Pies. casi todos los grandes msicos han compuesto para el cuarteto de cuerdas, formado por dos violines, una viola y un chelo. Los inslrantentos de vienla se llaman as porque los sonidos se producen al pasar el aire por el tubo y se obtienen los distintos tonos

por el uso de aberturas con claves y lengiietas y variando la longitud del tubo sonofo. Los instrumentos de viento se dividen en dos grupos: a) maderas (porque originalmente eran hechos de madera; hoy casi todas las flautas se hacen de plata o nquel), b) metales . Maderas: Flauta y flautn o piccolo, que se soplan por una abertura al costado y en el exhemo superior del instrumento; oboe, corno ingls, clarinete, clarinete bajo, saxofon, fagot, contra fagot, que se tocan con una boquilla. Metales: Corno &ancs, la trompeta, el trombn y la tuba. Producen sonido al soplar el msico colocando los labios en una boquilla de forma cnica. Se varan los tonos por medio de vlvulas, y en el caso del trombn, alargando el tubo metalico.

Los instrumentos de pereusin, que producen sonidos al ser percutidos (golpeados) se dividen en dos grupos: a) con tono determinado, como los timbales, el carrilln las campanas (tubos metalicos) y el xilofn o xilfono (madera). b) con tono indeterminado, como el tambor (bombo), el tambor militar, el tringulo, los platillos, el gong, las castauelas, panderetas, mafacas, claves, etc.
En la orquesta se usan a veces otros instrumentos especiales: El arpa, muy antiguo instrumento de cuerda punteada, con un serie de pedales para subir o bajar los tonos.

Carymas

ffiW
Timbales

'

La celesta, pequeo instrumento de teclado y lminas de meta con sonido muy dulce. El piano es para nosoos el instumento mrs familiar. Es de cuerdas percutidas por'martillos que reciben su impulso al golpear los dedos las teclas del instrumento. Tiene alrededor de 7 ocfavas. Los pedales sirven para sostener y cortar el sonido. Las cuerdas varan en longitud y grueso para producir su extensa gama de sonido: Hay pianos verticales (con cuerdas verticales) y de cola (con cuerdas horizontales) que tienen mayor sonoridad y, por eso, son usados en los conciertosEl piano pas por un proceso largo de evolucin. Del rgano se torn la idea de usar las teclas para hacer vibrar las cuerdas, y as naci el clacmbalo, con cuerdas horizontales- En el siglo XVIII, el italiano Bartolomeo Cristofori, fabrico el clavicmbalo con "piano e fortei'pues se poda tocar suave y fuerte. El nombre del instnrmento paso de piano-forte a piano. Gradualmente fue mejorado,

$fr*c:T'':= l'/ ( /-\ \-lnangulo

-

ffp

50

engrandecido y forticado y pronto aument la produccin de pianot especialmente en Alemania y Ausfia Con esto, se generaliz est

instrumento que atrajo mucho p{rblico a las salas de conciert< Muchos compositores han compuesto casi exclusivamente para ( piano y hoy se toca en l muchas de las composiciones escrit originalmente para arpicordio y clacordioHay muchos instrumentos musicales, que armqu no se usn e la orquesta sinfonica, son de gran aceptacine,utre 165 amantes de I msica. Entre los de cuerda estiin la guitane y la mrndolina'

varios teclados, para producir distintos efectos. Es notable el &gU Hammond cuyos sonidos son producidos por medios elecnico El armonio, cuyo sonido se produce en lminas de metal que vibn por accin del aire impulsado por los fuelles y tiene teclado y ped La armnica funciona en forma similar. Organizacin de la Orquesta. Siempre que hay un gnt de ejecutantes, se hace necesario un director, que colocado ' lugar visible, no slo marca el ritmo de La pieza (con una batuta simplemente con las manos) y unifica la ejecucin de los msict sino que imprime su personalidad a la interpretacin. Esta es ruztpor la cual los buenos directores de orquesta alcanzan u posiiin destacada en el mundo de la msica. En la msica popul .., hay bastante liberad en |a interpretacin; no as en la msica clsi donde se trata de presentar lzpezacon la mayor fidelidad posibl

El rgano se usa ms bien en la Iglesia; fimcim con brbos c distinta longitud, AntigUamente el aire era impulsado p fiell que funcionaban a mano, pero hoy da estos fuelles sc llenm p medio de un motor elctrico. Actualmente se fabrican rgre ct

,i , '

No hay regla frja para la colocacin de 1os msicos

orquosta sinfnica, pero frecuentemente se distribuyen as:

en

Conj antas Instrumentales. Los mayores conjuntos instrumentales son:

La orqaesla sinfiinica, que hoy da cuenta con ms de I instrumentos de cuerda, viento y percusin y que interpr'

Di*tr *ei* fr*cuente de los instrumentos

irBNro llaDxft -ttl6,

-Clarinetes
Fagotos

%*^
Primeros violines

sinfonias, conciertos, sonatas y muchas otras formas musicales. Ejemplo, la Orquesta Sinfonica Nacional de Panam La banda tambin es un codunto grande de musicos, pero a diferencia de la orquesta sinfonica, slo tiene instrumentos de viento y percusin. Generalmente se usa en paradas y en eventos al aire libre. Ejemplo, la Banda Republicana. Hay ohas agrupaciones ms pequeas:
La orquesta de cmara, que no tiene mis de 24 msicos. Interpretan msica escrita especialmente para estos conjuntos.

La orquesta de cuerda, formada por instrumentos de cuerd solamente. Poca musica se escribe
hoy da para esta clase de orquesta.

La orquesta de saln, agrupacin de msicos que no excede de veinticinco, gu ameniza con

msica ligera los lugares de esparcimiento.
La orquesta de lan frazzband), conjunto de instumentos d viento, percusin y el piano; mgy populares en los Estados Unidos y que se caractenzanpor la capacidad de impovisacin de sns muicos.

combos, pequeos conjuntos que se usan para los bailes popu rares. La orquesta tpica, vara en los distintos pases pues est forrnada por folklricos. Sirve para interpretar msic a tipica.

sus respectivos instrumentos

Conjuntos mixtos. Llamamos as a las presentaciones que incluyen orquesta y coro, tales como la pera, el oratorio y la cantata . Msica Electrnica. En los ltimos aos se han hecho experimentos enAlemania que conducen a producir y reproducir sonidos musicales en aparatos electrnicos. Los sonidos as producidos
difieren de los sonidos musicales que conocemos. Es prematuro determinar si esto pasan a ier algo ms que meros experimentos.

'tff

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l^.'\ t sssta';'fll$gg a|)-' l-.,

proy.gsta sinfnca? aqoTj ta dirige? aCuntos msims ta integranz puedes identificar los instrumentgul 19 ayudar preFrar un rbum. lpuedes diferenciar la banda, de la orquesta? lsabes denominar conecdamente ls dems conjuntos instrumentales? lEn tu opinin, qu clase de conjunto brman los Beafles?

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lTienes a tu alcance discos donde puedas escucar dos, trfos, cuartetos? oHas oldo una orquesta de cmarai oHas aslstool-un concerto de

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