Rhythm And Pitch Notation Charts
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Rhythm And Pitch Notation Charts
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Author : Peg Hoenack
language : en
Publisher:
Release Date : 1987
Rhythm And Pitch Notation Charts written by Peg Hoenack and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1987 with categories.
Rhythm Pitch Notation Charts
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Author : Peg Hoenack
language : en
Publisher:
Release Date : 1976
Rhythm Pitch Notation Charts written by Peg Hoenack and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1976 with Instrumental music categories.
Rhythm And Pitch Notation Transparencies
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Author : Peg Hoenack
language : en
Publisher:
Release Date : 1993-05-01
Rhythm And Pitch Notation Transparencies written by Peg Hoenack and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1993-05-01 with categories.
Pitch And Rhythm Bass Clef Diatonic Assorted Meters
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Author : Nathan Petitpas
language : en
Publisher: Dots and Beams
Release Date : 2019-04-16
Pitch And Rhythm Bass Clef Diatonic Assorted Meters written by Nathan Petitpas and has been published by Dots and Beams this book supported file pdf, txt, epub, kindle and other format this book has been release on 2019-04-16 with Juvenile Nonfiction categories.
This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using “real music,” not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Write in articulations, dynamics, bowing, sticking, or fingering for your students to practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for these exercises as possible.
Pitch And Rhythm Treble Clef Diatonic Assorted Meters
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Author : Nathan Petitpas
language : en
Publisher: Dots and Beams
Release Date : 2019-04-16
Pitch And Rhythm Treble Clef Diatonic Assorted Meters written by Nathan Petitpas and has been published by Dots and Beams this book supported file pdf, txt, epub, kindle and other format this book has been release on 2019-04-16 with Juvenile Nonfiction categories.
This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using “real music,” not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Write in articulations, dynamics, bowing, sticking, or fingering for your students to practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for these exercises as possible.
Reproducible Rhythm Readiness
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Author : Erika Popp
language : en
Publisher: Heritage Music Press
Release Date : 2018-03
Reproducible Rhythm Readiness written by Erika Popp and has been published by Heritage Music Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2018-03 with categories.
Grades 2-6. Reinforce rhythmic skills with these reproducible activity pages. Each one gives a brief review of a concept, then assesses a student's understanding with a pencil-and-paper activity. Young musicians will practice drawing rhythms, creating rhythmic patterns, using time signatures, and creating their own rhythmic compositions. Use them for quick assessments or rhythm practice, and save yourself valuable planning time!
Peg Hoenack S Music Literacy Series
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Author : Kay Jones
language : en
Publisher:
Release Date : 1993-10-01
Peg Hoenack S Music Literacy Series written by Kay Jones and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1993-10-01 with categories.
PEG HOENACK'S MUSIC LITERACY SERIES (TM) (ISBN 0-913500-99-2) enables every child & every current or future music & classroom teacher to participate in music & reach the national literacy standards set under the Goals 2000: Educate America Act. Students sing & play folk songs/classics, using two special Peg Hoenack (R) notations they read independently from stand-up books before adding the music symbols for what they have experienced. Teachers add vocabulary--up, down, beat, pattern--as appropriate, encouraging active listening & creating. Lively synthesized CDs or audio cassettes, charts & transitional writing materials assure success. The pre-K to Gr. 2 program centers on Songs I Can Play (ISBN 0-913500-21-6, & -17-8) & uses major-scale tones 1-8 in stand-up books & on 8-bar instruments. See, Hear, Play! describes a pre-K Music Discovery Program; Songs I Can Play Teacher's Book (ISBN 0-913500-01-1) a K-2 Tune Playing Program. The Music Through Recorder Program (Gr. 2-7) centers on Let's Sing & Play (ISBN 0-913500-43-7, -40-2, -18-6, -19-4 & -49-6) & uses absolute pitch names A-G for melodies & chords. Recorder Teaching: A Classroom Approach (ISBN 0-913500-25-9) describes a complete music program. Let's Write & Read Music (ISBN 0-913500-29-1, -24-0) adds writing staff notation to playing songs on many instruments. Rhythm & Pitch Notation Transparencies (ISBN 0-913500-50-X) (or printed charts) improve literacy with any method of vocal or instrumental teaching. Peg Hoenack's MusicWorks(TM), 800-466-TOOT, 8409 Old Seven Locks Rd., Bethesda, MD 20817-2006; FAX: 301-469-9252; INTERNET: http://www.netcom.com/nphoenack.
E Z Notation Through Rhythm Method
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Author : Beverly Marie Nelson
language : en
Publisher: Xlibris Corporation
Release Date : 2013-04
E Z Notation Through Rhythm Method written by Beverly Marie Nelson and has been published by Xlibris Corporation this book supported file pdf, txt, epub, kindle and other format this book has been release on 2013-04 with categories.
Music, Methods, and Me The notes of music are wonders in themselves. These little, round, circles, sometimes with stems and flags, are the symbols of the metaphysical scales of tones that surround us. We must realize the infinitude of these note symbols. Like numbers they live and work forever. They can be grasped out of thin air to be used for our imagination, creativity, and compositions. They are infinite, never to die. They have lived forever before, and will live forever after. It is a marvelous way to capture what we otherwise could not see, but only hear, and probably ignorantly or carelessly keep tuned out. Someone once said that the train whistles in England tooted in B flat. She was obviously keen on the music of the world. And what notes can be used for the many other sounds that surround us? How can the waves washing the shore, or crashing over cragged rocks be expressed with note symbols on a music score? What notes does the wind's whistle use, or its rush as it bursts through all trees? And do the leaves answer with yet another stream of melodies? Has their voices been inked on paper using the symbols, named notes? Our four methods of easy composing found in this book, can meaningfully promote the capability to do so. Nature sings to us through bird songs, thunder clashes, lightning flashes, roaring lions, barking dogs, meowing kittens, all with different tones and pitches. Do we hear them, and their music? Let's find how to catch and understand their music. In a unique way we try with the E-Z "Notation Through Rhythm" Methods of Music. And so we have included eight sets of the same puppet-doll incentive to music awareness. Familiarity with the colorful individuals who have journeyed from the Music Rainbow means familiarity with music notation in a fun, yet effective method for motivation and learning retention. Puppets are recognized teaching tools. Sesame Street proves that, and alphabet puppets have been useful. Why not have Music Puppets each with the letter names of a food, and each portraying an individual personality characteristic. We believe them to be so important we have included three sets. B. Nelson
Rudiments Of Music
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Author : Robert W. Ottman
language : en
Publisher: Prentice Hall
Release Date : 1987
Rudiments Of Music written by Robert W. Ottman and has been published by Prentice Hall this book supported file pdf, txt, epub, kindle and other format this book has been release on 1987 with Music categories.
Designed for beginners in music theory, this comprehensive text/workbook emphasizes elementary aspects of music notation, pitch, scales, key signatures, intervals, the keyboard, note values, meter, harmony, and rhythm.
Pitch Only Treble Clef
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Author : Nathan Petitpas
language : en
Publisher: Dots and Beams
Release Date : 2020-03-18
Pitch Only Treble Clef written by Nathan Petitpas and has been published by Dots and Beams this book supported file pdf, txt, epub, kindle and other format this book has been release on 2020-03-18 with Juvenile Nonfiction categories.
This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, C b, E#, and F b. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: - Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. - Play each exercise in all 15 key signatures. - Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. - Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. - Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. - Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.