All about music theory : a fun and simple guide to by Mark Harrison

By Mark Harrison

Designed as a self-training handbook in addition to a lecture room textual content, this publication is an entire step by step path to enhance the musician's skill to listen to and notate any kind of tune. own education, concept and routines shape an built-in, unconscious method, that could be utilized to composition, improvisation or performance.A definitive consultant and reference e-book for composers, orchestrators, arrangers and performers, listening to and Writing tune teaches a quick cartoon method and emphasizes exact communique via song notation. The aim is to acknowledge and notate any musical sound with out utilizing a keyboard or the other tool. Contents comprise: constructing your ear listening to durations and words Transcription strategy belief to notation of all parts of tune practise for construction and publishing Reference and source part for composition and picture scoring

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Bar lines are perhaps the worst thing that were ever invented for choral conductors—while they help organize the notes in some fashion, they must not overly influence phrasing. Every note after every bar line is not necessarily a strong beat. ” It is not like tuning. A note or chord either is in tune or is not. As Robert Shaw once said during a rehearsal, chords and notes cannot be partly in tune, just as a woman cannot be partly pregnant! Sensitive phrasing, however, is another matter. It has everything to do with a choral conductor’s taste, experience, and musical maturity.

The conductor shows too much tension and nervousness in his or her stance, gestures, and face. 5. The children have been singing far too long and are overcompensating. 6. The conductor sings sharp and the children imitate. 7. The conductor fails to hear the problem and correct it immediately. 8. The children are singing too loud to produce a beautiful sound. 9. The children are keyed up because of a major performance. 4 10. There is too much stress in the warm-up room beforehand, and too many changes are made at the last minute.

Longer than this will lose the choir. The conductor must, at the speed of lightning, recognize what the problem is and articulate a plan to correct it. Children are seldom able to correct more than two or three things at a time. Young ones need to correct one thing at a time, depending on the nature of the problem. Pitches and Rhythms Incorrect pitches and rhythms must be corrected first. This can be done in a variety of ways, depending upon why the children are singing the incorrect notes and rhythms in the first place.

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