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General pitch level of a piece of vocal music: an uncomfortably high tessitura; range of a voice |
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Mentally hearing and comprehending music, even when no physical sound is present |
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The movable fold, consisting of muscular fibers enclosed in a mucous membrane, that is suspended from the rear of the hard palate and closes off the nasal cavity from the oral cavity during swallowing or sucking. |
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Texas Essential Knowledge and Skills state standards for Texas public schools. |
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Marking signifies that on a staff that normally carries parts for two players, both players are to play the single part in unison |
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Gradually increasing the tempo |
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Play quickly; with agitation and excitement. |
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Broadening, becoming a little slower each time |
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A little lively, moderately fast |
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Slightly slower than andante, in which case its BPM is between 64-72. |
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the bow used for playing some string instrument; i.e., played with the bow, As opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction |
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go straight on; i.e., at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause |
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A complete break in sound (sometimes nicknamed “railroad tracks” in reference to their appearance |
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Falling away, or lowering; i.e., getting slower and quieter; ritardando along with diminuendo |
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Capriciously, unpredictable, volatile |
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With a mute, or with mutes |
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Brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] |
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to the finish; to the end |
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Slow and dignified (faster than largo) |
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At the performer’s pleasure |
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Sustaining all the notes full value |
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A musical work or composition |
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Intensely; passionately; with deep feeling |
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Vocal style; similar to cantabile |
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The final added measures of a musical composition |
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Vocal range where the voice ‘shifts’ or transitions into a different register |
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Male singing voice, falsetto denotes a specific timbre or vocal sound (differentiated from head voice, or voce piena in testa) in the male upper-range that is imitative of upper-range female voice quality, although it is not solely such. The term itself – derived from the Italian word for ‘false’ – suggests a departure from timbre reality; from true or legitimate vocal timbre. |
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The part of the respiratory tract between the pharynx and the trachea, having walls of cartilage and muscle and containing the vocal cords enveloped in folds of mucous membrane. |
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Either of two pairs of mucomembranous folds in the larynx. The upper pair (false vocal cords) are not concerned with vocal production; the lower pair (true vocal cords or vocal folds) can be made to vibrate and produce sound when air from the lungs is forced over them. |
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A tough, elastic, fibrous connective tissue found in various parts of the body, such as the joints, outer ear, and larynx. A major constituent of the embryonic and young vertebrate skeleton, it is converted largely to bone with maturation. |
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The section of the alimentary canal that extends from the mouth and nasal cavities to the larynx, where it becomes continuous with the esophagus. |
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Anterior bony portion of the roof of the mouth, extending backwards to the soft palate |
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Something that resonates; An instrument for detecting the presence of a particular frequency by means of resonance; Hollow enclosure designed to cause energy of a certain frequency, as sound waves or microwaves, to resonate; An electrical circuit that exhibits resonance at a certain frequency. |
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Upon two strings; lengthen the bow stroke |
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A bowing in which the string is pinched lightly, followed by a lift to prepare for the next stroke |
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With the wood part of the bow |
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The notes to which the strings, any strings, are tuned |
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Wood or stick part of the bow |
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Smooth or sometimes tied together |
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Playing simultaneously on two strings |
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Literally ‘detached’; any form of separated bowing on the string |
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The bow is drawn from the hand away from the instrument |
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Light, airy; played over the fingerboard |
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The lower end of the bow, to which the hair is fastened |
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Slide the fingers in gliding manner |
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Bowing style for pulsed or legato notes |
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Leaping, skipping the bow |
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Order of the Cello strings |
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Order of the bass strings |
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very fast; more so than presto |
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a steady pace, but slower than preceding tempo |
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Temporary irregularity of time, lengthening certain notes at the expense of others |
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Playfully; usually in rapid tempo with rhythmic and dynamic contrasts |
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the same; continue in same manner |
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more than one performer in unison |
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a composition or passage for one one performer |
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notes of a chord played in broken fashion |
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Refers to an accentuated or well-marked style of bowing |
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Hammered or sharply accented style of bowing |
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A small clamp made of various metals or wood and placed on the bridge to dampen the sound of the instrument |
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That part of a string instrument extending from the head to the body; the fingerboard is attached to it |
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The small bridge at the upper end of the fingerboard over which the strings pass into the peg box; sometimes it is used synonymously with the frog |
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in a declamatory style using a variety of expressive bowings as if “to speak” |
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a martele style of bowing at the tip |
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bow close to the bridge to produce a “squeky” effect |
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gliding effect from note to note for expressive purposes |
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a bouncing style of bowing that involves two or more slurred notes; the bow is dropped on the string so that it ricochets |
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a rapid bouncing bow that occurs through the natural resiliency of the stick |
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a special tuning of the open strings |
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a bouncing bow that is controlled by the hand |
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a note or chord reiterated at a rapid rate; it may or may not be measured |
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the sign is V; start at the point of the bow and move the hand toward the instrument |
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Renaissance (time period) |
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Macro rhythm (basic meter) Macro rhythm (agogic accent) |
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Triads, first inversions, and non-harmonic on a polyphonic base |
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Mass, Motet, Chanson, Canon, Madrigal, Toccata, Ricercare, Fantasia |
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Vibrato and pizzicato on string instruments |
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3 to 6 voices polyphony imitation polychoral style |
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contrast in number of voices mf, p, f in the bar form of the master singers |
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Dunstable Dufay Ockeghem Josquin Tavener Tye Cabezon Lassus Vittorio Binchoirs Obrecht Milan Tallis Palestrino Byrd Morenzio Gabrieli Frescoboldi |
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Sacbut Slide trumpet Timpani Bassoon polish geigs bass trombone french horn circular horn oboe |
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Bar line regularity Simple and compound meters |
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Development of major and minor tonalities Development of instrumental character |
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Thorough bass Dominance of major and minor tonalities Functional harmony, triads, seventh chords Modulation to closely related keys |
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opera, ballet, oratorio, sinfonia, overture, choral prelude, choral, fugue, prelude, concerto grosso, suites |
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instrumental Beginnings of orchestration |
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Vocal and instrumental contrast Development of a distinctly instrumental style |
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Contrast of large and small groups, loud and soft instruments, loud and soft keyboards |
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Violin Flute 2-key oboe 3-key bassoon 2-key clarinet cello pianoforte |
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Monteverdi Gibbons Schutz Corelli Lully A. Scarlatti Vivaldi Bach Handel Purcell |
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Bar line regularity Dominance of simple meters |
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Diatonic lines in major and minor modes Tuneful, singable melodies |
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Triads Seventh chords Chromatic alteration Modulation to foreign keys |
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Development of sonata form Sonata Trio Quartet Concerto Opera Oratorio Quintet Symphony |
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Secondorization of instrumental combinations |
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homophony solo quartet trio quartet quintet symphony concerto |
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from pp to ff crescendo and diminuendo Sudden changes |
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double bass keyed trumpet valve horn valve trumpet english horn |
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Gluck Hayden J.C Bach Cimorosa Paganini Sammartini Mozart Weber Beethoven |
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bar line regularity simple meters with misplaced accents exploitation of ritardando and accelerando |
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diatonic and chromatic lines in major and minor modes singable melodies of a more emotional character |
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emphasis on seventh, ninth, and eleventh chords chromatic progressions |
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Traditional forms art song character piece music drama symphonic poems cyclic form leit motif |
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development of the possibilities of each instrumental and vocal type rise of the virtuoso |
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fuller orchestras larger choral groups larger combinations of voices and instruments |
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from ppp to ffff crescendo and diminuendo more sensitive changes |
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albert system clarinet piccolo alto and bass clarinet heckel system bassoon eb bass saxaphone BBb bass boehm system flute and clarinet modern oboe machine-tuned tempani alto flute celesta contrabassoon marimba mellophone |
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Czerny Schubert Chopin Verdi Gounod Bruckner Mussorgksy Puccini Sousa Mahler Elgar Dvorak Tchaikovsky J. Strauss Berlioz Liszt Wagner Brahms Grieg Rimsky-korsokoff |
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syncopation asymmetric meters mixed meters |
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whole tone scale modes synthetic scales serial technique micro-tones angular melodic lines |
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impressionists polytonality atonality changing tonalities chords of 4ths and 5ths added notes tone clusters denial of functional harmony |
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forms from old, previous periods arch form jazz |
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Exploitation of instrumental and vocal color |
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from monophony to huge masses of sound Renewed emphasis on polyphonic style |
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From a whisper to the extreme possibilities of loudness |
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Complete families of wind instruments electronic instruments |
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Complete families of wind instruments electronic instruments |
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MacDowell Sibelius Schoenberg Berg Stravinsky Barber Holst Debussy Vaughn-williams Copland Ravel R. Strauss Ives Prokofieff Hindemith Schuman Shostokovich Hanson |
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(major) Do, Re, Mi, Fa, Sol, La, Ti, Do 1, 2, 3, 4, 5, 6, 7, 1 |
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Re, Mi, Fa, Sol, La, Ti, Do, Re 2, 3, 4, 5, 6, 7, 1, 2 becomes– 1, 2, b3, 4, 5, 6, b7, 1 |
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Mi, Fa, Sol, La, Ti, Do, Re, Mi 3, 4, 5, 6, 7, 1, 2, 3 becomes– 1, b2, b3, 4, 5, b6, b7, 1 |
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Fa, Sol, La, Ti, Do, Re, Mi, Fa 4, 5, 6, 7, 1, 2, 3, 4 becomes– 1, 2, 3, #4, 5, 6, 7, 1 |
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Sol, La, Ti, Do, Re, Mi, Fa, Sol 5, 6, 7, 1, 2, 3, 4, 5 becomes– 1, 2, 3, 4, 5, 6, b7, 1 |
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(natural minor) La, Ti, Do, Re, Mi, Fa, Sol, La 6, 7, 1, 2, 3, 4, 5, 6 becomes– 1, 2, b3, 4, 5, b6, b7, 1 |
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Ti, Do, Re, Mi, Fa, Sol, La, Ti 7, 1, 2, 3, 4, 5, 6, 7 becomes– 1, b2, b3, 4, b5, b6, b7, 1 |
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a metrical pattern in which two bars in triple time (3/2) or (3/4) are articulated as if they were three bars in duple time (2/2) or (2/4) “123, 123, 12, 12, 12” |
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Lengths of the notes are prolonged. A melody originally consisting of four eighth-notes for example, is augmented if it later appears with four quarter-notes instead. |
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Repeating a pattern at a higher or lower pitch level |
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root, major third, minor third (CEG) |
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root, minor, third, major third (CEbG) |
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Major/minor seventh chord |
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root, major third, perfect fifth, minor seventh |
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root, minor third, diminished fifth (tritone), diminished seventh (sixth) (CEgGbBbb) |
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V to i. the phrase perfect cadence is sometimes used as a synonym for authentic cadence, but can also have a more precise meaning depending on the chord voicing |
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Any cadence ending on V, whether preceded by ii, IV, I, or any other chord |
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IV to I, also known as the ‘amen cadence’ because of its frequent appearance in hymns |
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V to any chord except I (typically vi or VI). This is considered one of the weakest cadences because of the ‘hanging’ (suspended) feel it invokes |
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the most common musical form of blues. 12 refers to the number of measures. I IV I I I IV I I V IV V I |
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refers to a non-repetitive ordering of the twelve notes (pitch-classes in musical set theory) of the chromatic scale. Tone rows are the basis of Schoenberg’s twelve tone technique. |
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a motif or phrase which is repeated over and over again at the same pitch. musical pattern that is continuously repeated during a sections or throughout a complete piece of music. the repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. |
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head, (mouth, nose, sinuses), throat, chest |
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tongue, teeth, jaw, hard and soft palates |
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soprano, mezzo soprano, alto, tenor, baritone, bass |
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Choral performance criteria |
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correct notes and rhythms phrasing balance blend intonation tone quality stage prescence/facial expressions |
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hydration, overuse or abuse, illness, talking at clubs or on bus trips, medications |
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posture and breathing range extension and flexibility needs register changes breathy, strident, tense tone vibrato unevenness intonation diction |
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perception creative expression/performance historical/cultural heritage response/evaluation |
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Fundamental principles of music |
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rhythm texture dynamics melody timbre form |
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