3RD GRADE MUSIC CRAFT INSTRUMENTS

1ST GRADE MUSIC CRAFT INSTRUMENTS TEST

1. NAME TWO WOODWIND INSTRUMENTS WHICH USES THE DOUBLE REED.

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2. WHAT RANGE OF SOUND PRODUCED BY THE FLUTE?  HIGH RANGE OR LOW RANGE OR MID-RANGE?



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3. DOES THE CLARINET PRODUCE SOUNDS AT THE HIGH RANGE TO MID-RANGE?



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4. WHICH INSTRUMENT IS A MEMBER OF THE OBOE FAMILY WHICH PRODUCES  A LOWER RANGE SOUND.  PROVIDE THE FRENCH NAME FOR IT.



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5. WHAT RANGE OF SOUNDS DOES THE BASSOON PRODUCE?



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6. HOW DOES THE  FLUTE PRODUCES IT SOUND?



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7.  NAME THIS INSTRUMENT.

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Music Craft 4A
Non-Chord Tone


The passing tone (can be chromatic or diatonic)
Simplest form - Passing motion is stepwise motion in a single direction, connecting two tones a third a part.
Passing tones and non-chord tones can occur in more than one voice simultaneously.
A passing tone (P) is normally unaccented but may also occur in a relatively accented position (AP).
A chromatic passing tone (CP) divides a whole tone interval into two semitones.
The neighbouring tone
In its normal, complete form is stepwise motion with a change of direction – up a step and back (UN), or down a step and back (LN).
Neighbouring motion embellishes a single tone.
Neighbouring motion is more static in character; Passing motion is more dynamic.
Neighbouring tone (N) is normally unaccented, but accented neighbouring tones (AN) do occur.
Incomplete neighbour (IN) – a skip or leap to or from a non-chord tone, which then moves by step to the main (chord) tone.
If the IN arrives by skip or leap in an accented position relative to its resolution to the main tone, it is called and appoggiatura (app.)
The resolution is always by step in the opposite direction from the preceding skip or leap. The appoggiatura is always accented.
Escape tone (ET) – a non-chord tone occurs by stepping away from a chord tone, and then the resolution is by skip or leap in the opposite direction. The ET is nearly always unaccented.
Workbook 4A, Lesson 1
Question 10.
The two semiquavers (sixteenth notes) at the end of bar 1 are consecutive passing tones spanning the interval of a P4, a1 to d2. Since this pace of rhythmic motion potentially subdivides the beat into four parts, the first and third semiquavers will be felt as more accented than the second and fourth. Therefore, the b flat1 can be considered an AP and the c2 an ordinary unaccented passing tone P.

MAJOR AND RELATIVE MINOR KEYS WITH SHARPS AND FLATS​​​

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SHARPS IN THIS ORDER:-
Father Christmas Got Dad An Electric Blanket
F# C# G# D# A# E# B#
C Major has no Sharps or Flats. Seven semitones (half steps to the right from C gives you the next Key with one sharp - G Major (E minor). Continue with seven semitones (P 5th)to the right from G gives you the next key with two sharps – D Major (B minor); etc.
Three semitones (minor 3rd) to the left from the Major key gives you the relative minor key.
Or else memorise this:-
G MAJOR (E minor) - 1 SHARP – F#
D MAJOR (B minor) - 2 SHARPS - F#, C#
A MAJOR (F# minor) - 3 SHARPS - F#, C#, G#
E MAJOR (C# minor) - 4 SHARPS - F#, C#, G#, D#
B MAJOR (G# minor) - 5 SHARPS - F#, C#, G#, D#, A#
F# MAJOR (D# minor - 6 SHARPS - F#, C#, G#, D#, A#, E#
C# MAJOR (A# minor) - 7 SHARPS - F#, C#, G#, D#, A#, E#, B#
FLATS IN THIS ORDER:-
Blanket Exploded And Dad Got Cold Feet
B flat E flat A flat D flat G flat C flat F flat
C Major has no Sharps or Flats. Seven semitones (half steps to the left from C gives you the next Key with one flat - F Major (D minor). Continue with seven semitones (P 5th) to the left from F gives you the next key with two flats - B flat Major (G minor); etc.
Three semitones (minor 3rd) to the left from the Major key gives you the relative minor key.
Or else memorise this:-
1. F MAJOR (D minor) - 1 Flat - B flat
2. B flat MAJOR (G minor) - 2 Flats - B flat, E flat
3. E flat MAJOR (C minor) - 3 Flats - B flat, E flat, A flat
4. A flat MAJOR (F minor) - 4 Flats - B flat, E flat, A flat, D flat
5. D flat MAJOR (B flat minor) - 5 Flats - B flat, E flat, A flat, D flat, G flat
6. G flat MAJOR (E flat minor) - 6 Flats - B flat, E flat, A flat, D flat, G flat, C flat
7. C flat MAJOR (A flat minor) - 7 Flats - B flat, E flat, A flat, D flat, G flat, C flat, F flat

​TIME SIGNATURE

The time signature (also known as "meter signature") is a notational convention used in Western musical notation to specify how many beats are in each measure and what note value constitutes one beat.

In a musical score, the time signature appears at the beginning of the piece, immediately following the key signature (or immediately following the clef if the piece is in C major, A minor). A mid-score time signature, usually immediately following a barline, indicates a change of meter.

Simple example of a 3/4 time signature: here there are three quarter-notes per measure.

Simple time signatures
Basic time signatures: 4/4, also known as common time (C); 2/2, also known as cut time or cut-common time (¢), 2/2, simple triple 3/4 and compound duple 6/8 .

Simple time signatures consist of two numbers, one above the other:

the lower number indicates the note value which represents one beat (the "beat unit");
the upper number indicates how many such beats there are in a bar.
For instance, 2/4 means two quarter-note (crotchet) beats; 3/8 means three eighth-note (quaver) beats.

The most common simple time signatures are 2/4, 3/4, and 4/4.

Notational variations in simple time
A "semicircle", or C, is sometimes used for 4/4 time, also called "common time". The symbol is derived from a broken circle used in early music, where a full circle represented 3/4 time, called "perfect time".[1] A "semicircle" with a vertical line through it is used in place of 2/2, also known as "alla breve" or, colloquially, "cut time", or "cut common time".

Compound time signatures
Main article: Compound meter (music)

As with simple time signatures, compound time signatures are also represented by two superposed numbers; the lower likewise represents the beat unit and is most commonly an 8 (an eighth-note). The difference is that subdivisions of the main beat (the upper number) are into three, not two, equal parts, so the number is commonly 6, 9 or 12. Thus compound time uses a dotted note for the beat unit.

An example
3/4: A simple signature, comprising three quarter notes. It has a basic feel of:

one two three

Each quarter note might comprise two eighth-notes (quavers) giving a total of six such notes, but it still retains that three-in-a-bar "feel":

one and two and three and

6/8: Theoretically, this can be thought of as the same as the six-quaver form of 3/4 above with the only difference being that the eighth note is selected as the one-beat unit. But whereas the six quavers in 3/4 had been in three groups of two, 6/8 is practically understood to mean that they are in two groups of three, with a two-in-a-bar feel:

one and two and

Beat and time
Time signatures indicating two beats per bar (whether simple or compound) are called duple time; those with three beats to the bar are triple time. To the ear, a bar may seem like one singular beat. For example, in some fast waltzes, which are most commonly in 3/4 time, the term single time may be used. Terms such as quadruple (4), quintuple (5), and so on are also occasionally used.

Most frequent time signatures
Simple time signatures

4/4 (quadruple)

common time: widely used in most forms of Western classical and popular music. Most common time signature in rock, blues, country, funk, and pop[2]

2/2 (duple)

alla breve, cut time: used for marches and fast orchestral music. Frequently occurs in musical theater. Sometimes called "in 2".

4/2 (quadruple)

common in early music; rarer since 1600, although Brahms and other composers used it occasionally.

2/4 (duple)

used for polkas or marches

3/4 (triple)

used for waltzes, minuets, scherzi, and country & western ballads.

3/8 (triple)

also used for the above, but usually suggests higher tempo or shorter hypermeter.

Compound time signatures

6/8 (duple)

double jigs, polkas, fast obscure waltzes, marches and some rock music.

9/8 (triple)

"compound triple time", used in triple ("slip") jigs, otherwise occurring rarely (The Ride of the Valkyries and Tchaikovsky's Fourth Symphony are familiar examples.)

12/8 (quadruple)

classical music; also common in slower blues (where it is known as shuffle) and doo-wop; also used more recently in rock music.

Some pieces have no time signature, as there is no discernible rhythm. This is commonly known as free time. Sometimes one is provided (usually 4/4) so that the performer finds the piece easier to read, and simply has 'free time' written as a direction. Sometimes the word FREE is written downwards on the stave to indicate the piece is in free time. Erik Satie wrote many compositions which are ostensibly in free time, but actually follow an unstated and unchanging simple time signature throughout. Later composers have made more effective use of this device, writing music which is almost devoid of any discernible regularity of pulse.

If two time signatures alternate repeatedly, sometimes the two signatures will be placed together at the beginning of the piece or section, as in this example, the chorus from the song "America" from West Side Story: in this case, it alternates between 6/8 (in two) in the first measure of each pair and 3/4 (in three) in the second measure.

Time Signatures

Time signatures tell you how many and what kind of notes per measure there are. The number on top is the number of notes per measure, and the bottom number is what kind of note. Let us explain further.

Let us take for example the most popular time signature, 4/4.

This means there is 4 quarter notes per measure. How is this so?

Looking at 4/4, you saw the 4 on top. You already knew that meant there were 4 somethings per measure. Then looking at the bottom number probably confused you. The bottom number can be 1, 2, 4, 8, 16, etc. Look at this chart.

For example:

3/4 is 3 quarter notes per measure.
5/2 is 5 half notes per measure.
6/8 is 6 eighth notes per measure.

There are also 2 other common things you might see where the time signature should be.

Common Time
Same as 4/4 time

Cut Time
Same as 4/4 but everything is cut in half.
Example: a half note = 1 quarter note, a whole note = 1 half note.

A time signature tells you how the music is to be counted. The time signature is written at the beginning of the staff after the clef and key signature.

Time signatures consist of two numbers written like a fraction.

The top number of the time signature tells you how many beats to count. This could be any number. Most often the number of beats will fall between 2 and 12.

The bottom number tells you what kind of note to count. That is, whether to count the beats as quarter notes, eighth notes, or sixteenth notes. So the only numbers you will see as the bottom number (the denominator) will correspond to note values:

1 = whole note (you’ll never see this)
2 = half note
4 = quarter note
8 = eighth note
16 = sixteenth note
You could continue on with 32, 64, but you will hopefully never encounter them! After a while it gets a bit unwieldy. The most common bottom numbers are 4, 8 and 16.

Time Signature Summary
The main thing to remember is a time signature tells you: How many of what kind.

That’s it. A time signature is the number of beats and the type of note the beat is.