Classroom Expectations
Music Appreciation
& History
Music H101
3 credit hours
HWCHU BK-101
Fridays
5:30 to 8:45pm
12 weeks plus final
exam
• Music 101 surveys the major styles,
composers, genres and selected works of
the European art music education. The
course will expand listening skills and
knowledge of music terms, concepts,
and vocabulary in order to discuss the
art of music.
• The expected outcome would be that
students will acquire the ability to
identify period compositions and
composers based upon recognition of
general stylistic criteria and be able to
discuss general technical and historical
aspects of compositions and
performances
Required Materials
Music Appreciation
& History
Music H101
3 credit hours
HWCHU BK-101
Fridays
5:30 to 8:45pm
12 weeks plus final
exam
• Companion Website:
www.bedfordstmartins.com
• Grove Dictionary of Music
www.eid.nvcc.commnet.edu/login
Grading Criteria
Music Appreciation &
History
Music H101
3 credit hours
HWCHU BK-101
Fridays
5:30 to 8:45pm
12 weeks plus final
exam
50%
• Attendance
• Classroom Participation
20%
• Midterm Test
• Writing Assignment(s)
20%
• Final Exam
• Writing Assignment(s)
10%
• Concert Project*
*During the Semester each student is required to
attend at least one concert that is recommended by the
teacher. Other concerts are allowed but must be
approved by the instructor
Attendence
Music Appreciation
& History
Music H101
3 credit hours
HWCHU BK-101
Fridays
5:30 to 8:45pm
12 weeks plus final
exam
Classroom attendance is an integral part of the
college experience. The faculty of the college
believes that regular class attendance is
necessary for a student to derive the maximum
benefit from the learning experience and the
overall value of the class room instruction.
College policy does not allow an instructor to
issue, for academic reasons, an NC grade (No
Credit) if a student has more absences per
semester than the number of times the class
meets each week. The grade of F (failure) is
issued instead. For absences due to
extenuating circumstances, it is the
responsibility of the student to contact the
instructor.
Academic Honesty
Music Appreciation
& History
Music H101
3 credit hours
HWCHU BK-101
Fridays
5:30 to 8:45pm
12 weeks plus final
exam
At NVCC we expect the highest standards of
academic honesty. Academic dishonesty is
prohibited in accordance with the Board of
Trustee’s Proscribed Conduct Policy in
section 5.2.1 of the BOT Policy Manual. The
policy prohibits cheating on examinations,
unauthorized collaboration on assignments,
unauthorized access to examinations or
course materials, plagiarism, and other
proscribed activities.
Plagiarism is defined as the use of
another’s ideas or phrases and
representing them as your own either
intentionally or unintentionally.
Use of cellular phones
Music Appreciation
& History
Music H101
3 credit Hours
Tuesdays &
Thursdays 5:30 to
6: 50 pm
A-507
12 weeks plus final exam
Students are hereby notified that cellular phones
and beepers are allowed in the class only if they
are turned off or turned to a silent mode. Under
no circumstances are telephones to be answered
in class. Students who ignore this policy may be
asked to leave class. When there are extenuating
circumstances that require that a student be
available by phone or beeper, the students should
speak to the instructor prior to class, so that
together they can arrive at an agreement
concerning the device.
Class Cancellation
Music Appreciation
& History
Music H101
3 credit Hours
Tuesdays &
Thursdays 5:30 to
6: 50 pm
A-507
12 weeks plus final exam
If Class is cancelled or delayed because
of weather, the College website and
certain radio and television stations will
carry an announcement. If instructor is
unable to attend class, the Arts and
Humanities Division Office will advise
students of alternative learning
arrangements.
Open Lab &
Library Services
Music Appreciation
& History
Music H101
3 credit Hours
Tuesdays &
Thursdays 5:30 to
6: 50 pm
A-507
12 weeks plus final exam
•Danbury Public Library is available for student
computer and research needs hours of
operation are:
•Monday, Tuesday, Thursday from 10 am – 7pm;
•Wednesday, 1-pm-7pm;
•Friday, Saturday, 10am- 5pm; Sunday 1pm – 5pm.
•WSCU – NVCC students can borrow books at
these two location in Danbury. Must show
proof of payment for NVCC classes. Library
hours are:
•Friday 8am – 4pm;
•Saturday 10am-6pm;
•Sunday 2pm – 6pm.
Unit 1 - Fundementals
Music,
Sound,
& Time
Chapter 1
Music, Sound, and Time
We will listen to four different musical examples
While listening please jot down the answers to the
following questions:
1. What mood does each piece create?
2. What is the fabric of the piece (Instrumentation)?
Mu H 101
10
Overall objectives to
developing effective listening skills
• Listening is the primary tool for understanding
and enjoying music.
• Repetition in listening to a single piece enables
one to hear more and more; enhancing
understanding and enjoyment.
• Concepts and terms aid the process of learning
to listen attentively; they increase awareness as
they pinpoint specific elements of the aural
experience.
Mu H 101
11
Overall objectives to
developing effective listening skills
A musical experience (“Sonic event”) is the
cumulative result of several factors:
•
•
•
elements of music working together (rhythm, pitch,
dynamics, tone color, and so on)
the effect of these sounds and associated words and
images on the listener
the listener’s interpretation of this effect based on
past experiences and understanding
Mu H 101
12
Properties of Music
Music is part of this world of sound -- an art based on the organization of
sounds in time. We distinguish music from other random sounds by recognizing
the four main properties of musical sounds:
Pitch
Dynamics
Tone color
Duration
Mu H 101
13
13
Chapter 1
Music, Sound, and Time
This Chapter covers the Fundamental Properties of Sounds and the
vocabulary associated with each property
Fundamental
Properties
Associated
Vocabulary
Frequency
Pitch
Amplitude
Dynamics
Overtones
Tone
Color
Duration
Rhythm
Mu H 101
14
Four Principles of Music
Pitch (frequency)
• The highness or lowness of Sound
Dynamics (Amplitude)
• Degrees of loudness or softness
Tone Color (Overtones)
• The quality of sound that distinguishes one
instrument from another
Rhythm (Duration)
• The flow of music through time
Mu H 101
15
Chapter 1
Music, Sound, and Time
• As we listen to music, anyone of these
elements can draw our attention: a
memorable tune, a driving rhythm, unusual
sound of an exotic instrument.
• More often we respond to the combination of
two or more of these elements without
methodically analyzing the names and
proportions of each.
Mu H 101
16
Chapter 1
Music, Sound, and Time
• Understanding these building blocks of music
enhances our listening and provides a
vocabulary with which to discuss a piece in
some detail.
• If we increase our capacity and awareness of
these elements, the more we can enjoy
listening to many types and kinds of music.
Mu H 101
17
Pitch (Frequency)
Sound Vibrations
are measured by
cycles per second
• The pitch we tune to is A=440 which means that the string vibrates back and
forth 440 times per second
• The vibrating string pushes the air molecules around it back and forth 440 per
second. They jostle each other at the same frequency, creating sound waves
• These sound waves radiate outwards, like waves in a pond, at a speed of about
1,000 feet (about 305 meters) per second
Mu H 101
18
Pitch (Frequency)
The ear, constructed like
a satellite dish,
intercepts these
vibrating molecules
• The vibrating air molecules set the eardrum in motion at the same rate of vibration. This
vibration in turn, finds its way to the corresponding auditory nerve in the cochlea, which
sends an electrical impulse that is perceived by the brain of the listener as A440.
• The sound processing ability of the human ear is quite extraordinary. Even complex sound
patterns such as noise, environmental sound, orchestral music, and so on are received by
the ear as composite sound shapes that the brain interprets and translates into individual
sounds
Mu H 101
19
What do you hear?
We will listen to two different musical examples
While listening please jot down the answers to the following
questions:
1. Describe the shape of the composition. What is the dynamic
framework of the piece?
2. How is the instrumentation used to create the dynamic effect?
Evard Grieg
John Williams
“Hall of the Mountain King”
From Peer Gynt Suite
“Jaws”
Mu H 101
20
20
Definite & Indefinite pitches
•
In music and hearing, a sound or note of definite
pitch is one of which it is possible or relatively easy
to discern the pitch or frequency of the fundamental.
Sounds with definite pitch have harmonic frequency
spectra or close to harmonic spectra (overtones)
•
A sound or note of indefinite pitch is one of which it
is impossible or relatively difficult to discern the pitch
or frequency of the fundamental. Sounds with
indefinite pitch do not have harmonic spectra or
have altered harmonic spectra.
•
Note that it is still possible for two sounds of
indefinite pitch to clearly be higher or lower than
one another, for instance, a snare drum invariably
sounds higher in pitch than a bass drum because its
sound contains higher frequencies. In other words, it
is possible and often easy to roughly discern the
relative pitches of two sounds of indefinite pitch, but
any given sound of indefinite pitch does not neatly
correspond to a given definite pitch.
Mu H 101
21
Pitch (Frequency)
Pitch: Highness and lowness of tone
• Pitch is the relative highness or lowness that we hear in
a sound.
• The pitch of a sound is determined by the frequency of
its vibration
• The faster the vibrations, the higher the pitch, the
slower the vibrations the lower the pitch.
• As previously mentioned vibration frequency is
measured in cycles per second.
H 101
Music inMu
America
MU104 H & O
22
22
1
Pitch (Frequency)
On a piano the highest-frequency tone is
4,186 cycles per second
And the lowest is about 27 cycles per
second
Standard of pitch is judged by A above
middle C to be equal to 444 cycles per
second.
Mu H 101
23
23
Pitch (Frequency)
Consequently, the smaller the vibrating
object the faster its vibrations and the
higher the pitch.
All other things being equal, the plucking of
a short string produces a higher pitch than
plucking a long string.
H 101
Music inMu
America
MU104 H & O
24
24
Pitch (Frequency)
In Music, a sound that has a definite pitch is called a tone. It has a
specific frequency, such as A =440 cycles per second. The
vibrations of a tone are regular and reach the ear at equal time
intervals.
On the other hand, noise-like sounds (squeaking breaks, or
clashing cymbals) have an indefinite pitch because they are
produced by irregular vibrations.
Two tones will sound different when they have different pitches.
The distance between any two tones is called an interval.
Music in America MU104 H & O
Mu H 101
25
25
Pitch (Frequency)
When the tones are separated by the interval
called an Octave, they sound very much alike.
Their cycles are doubled. If the pitch was A=444
the octave higher would be A=888. A tone an
octave lower would be A=222. When sounded at
the same time, two tones an octave apart blend
so well that they almost seem to emerge as one
tone. The interval of an octave is important in
music. It is the interval between the first and last
tones of a major scale.
DO–RE-MI-FA-SOL-LA-MI-RE-DO
Mu H 101
26
26
Pitch (Frequency)
The invention of solfege is ascribed to Guido of Arezzo. He used a
series of six syllables to refer to the six degrees of the hexachord.
These six syllables were drawn from the hymn to Saint John "Ut
queant laxis", because each of the six phrases of that hymn began
on each of the six degrees of the hexachord:
Ut queant laxis resonare fibris Mira gestorum famuli tuorum,
Solve polluti labii reatum, Sancte Ioannes.
This hymn gave the six acrophonic syllables: Ut, Re, Mi, Fa, Sol, La.
In the course of time, "Ut" was changed to "Do" on the grounds
that it was easier to sing, and the syllable "Si" was added to
indicate the leading tone of the modern scale. (The name "Si"
may perhaps derive from the first letters of "sancte ioannes",
although this is conjecture.)
Music in America MU104 H & O
27
Pitch (Frequency)
As time passed five pitches were added to the original seven. These five are produced
by the black keys of the keyboard. All twelve tones like the original seven are duplicated
in higher and lower octaves.
28
Pitch (Frequency)
29
Pitch (Frequency)
Though most music we know is based on definite pitches, indefinite pitches
made by such musical instruments as gongs, cowbells, and woodblocks, come in
different sizes and therefore produce higher or lower indefinite pitches.
Contrast between higher and lower indefinite pitches play a vital role in
contemporary western music and in musical cultures around the world.
30
Dynamics (Volume)
• Dynamics are essentially degrees of loudness and softness in music.
• Loudness is related to the amplitude of the vibration that produces
the sound.
• When instruments are played more loudly or more softly, or when
there is a change in how many instruments are heard, a dynamic
change results; such a change may be made either suddenly or
gradually.
• A gradual increase in loudness often creates excitement, particularly
when the pitch rises too. On the other hand, a gradual decrease in
loudness can convey a sense of calm.
• A performer can emphasize a tone by playing it more loudly than the
tones around it. We call an emphasis of these kind an accent.
31
Dynamics (Amplitude)
In music, dynamics normally refers to the volume of a
sound or note, but also to every aspect of the
execution of a given piece, either stylistic (staccato,
legato etc.) or functional (velocity). The term is also
applied to the written or printed musical notation
used to indicate dynamics.
•
The two basic dynamic indications in music are:
– p or piano, meaning "soft."
– f or forte, meaning "loud" or "strong".
•
More subtle degrees of loudness or softness are
indicated by:
– mp, standing for mezzo-piano, and meaning "mediumquiet" or "moderately-quiet" and
– mf, standing for mezzo-forte, and meaning "medium-loud"
or "moderately-loud".
•
Beyond f and p, there are also
– ff, standing for "fortissimo", and meaning "very loud" and
– pp, standing for "pianissimo", and meaning "very quiet".
Mu H 101
32
Dynamics (Volume)
33
Dynamics (Volume)
• Like many elements of music, a dynamic indication is not
absolutely precise.
• A tone has a dynamic level – is soft or loud – in relation to
other tones around it.
• The loudest sound of a single violin is tiny compared with the
loudest sound of an entire orchestra, and even tinier
compared with an amplified rock group.
• But it is considered fortissimo (very loud) within its own
context.
34
Tone Color (Timbre)
• Timbre tells us the difference between a trumpet from a flute even when each of
them is playing the same tone at the same dynamic level.
• Tone color is described by the words such as bright, dark, brilliant, mellow and rich.
• Like changes is dynamics, changes in tone color create variety and contrast. When
the same melody is played by one instrument and then by another, it takes on
different expressive effects because of each instrument’s tone color.
• On the other hand, a contrast in tone color may be used to highlight a new melody:
after violins play a melody, an oboe may present a contrasting one.
• Tone colors also build a sense of continuity; it is easier to recognize the return of a
melody when the same instruments play it each time.
• Specific instruments can reinforce a melody’s emotional impact: the brilliant sound
of a trumpet is suited to heroic or military tunes; the soothing tone color of a flute
fits the mood of a calm melody.
35
LISTENING EXERCISE 1
Pitch & Dynamics
“Unfinished” Symphony
0:00
Quiet and mysterious (pp)
0:15
Rustling sounds
0:22
Wind Instruments
0:35
Single sharp accent sf
0:47
1:07
1:15
1:52
Gets louder (Long cresc. to f, then ff,
More accents)
Sudden collapse (pp followed by dim.)
New tune (marked pp by Schubert)
Cuts off sharply; big sound (ff, more accents)
3:07
3:43
Sinking Passage
Ominous (pp)
(Similar pitch and dynamics effects for the rest of the excerpt)
Mu H 101
36
Tone Color (Overtones)
• We can tell a trumpet from a flute even when each of
them is playing the same tone at the same dynamic level
• The quality that distinguishes them – our third property of
sound – is called Tone Color or timbre
• Tone Color is described by words such as bright, dark,
brilliant, mellow and rich
• Changes in tone color create variety and contrast
• When the same melody is played by one instrument and
then by another it takes on different expressive effects
because of each instruments tone color
• On the other hand, a contrast in tone color can be used
be used to highlight a new melody
Mu H 101
37
Tone Color (Overtones)
• Tone Colors also build a sense of continuity; it is easier to
recognize the return of a melody when the same
instrument plays it each time.
• Specific instruments can reinforce a melody’s emotional
impact: the brilliant sound of a trumpet is suited to
heroic and military tunes; the soothing Tone Color of a
flute fits the mood of a calm melody.
• Composers , in fact, often create a melody with a
particular instrument's Tone Color in mind
• A practically unlimited variety of tone colors is a available
through the instruments of the orchestra.
Mu H 101
38
Tone Color (Overtones)
• Combining different instruments – violin, clarinet, and
trombone for example – results in new colors that the
instruments cannot produce themselves.
• Tone color can be changed by varying the number of
instruments or voices that perform a melody.
• Finally, electronic techniques developed in recent years
allow composers to create colors completely unlike those
of traditional instruments
Mu H 101
39
Tone Color (Overtones)
The human voice consists of sound made by a human
being using the vocal folds for talking, singing, laughing,
crying, screaming, etc. Human voice is specifically that part
of human sound production in which the vocal folds (vocal
cords) are the primary noise source. Generally speaking,
the voice can be subdivided into three parts; the lungs, the
vocal folds, and the articulators. The lung (the pump) must
produce adequate airflow to vibrate vocal folds (air is the
fuel of the voice). The vocal folds (vocal cords) are the
vibrators, neuromuscular units that ‘fine tune’ pitch and
tone. The articulators (vocal tract consisting of tongue,
palate, cheek, lips, etc.) articulate and filter the sound.
The vocal folds, in combination with the articulators, are
capable of producing highly intricate arrays of sound. The
tone of voice may be modulated to suggest emotions such
as anger, surprise, or happiness. Singers use the human
voice as an instrument for creating music.
Mu H 101
40
WAGNER: Prelude to
Die Walküre
Please read “Prelude” on
Page 4 of your book and
listen to Wagner’s Prelude
This musical example is given
to introduce you to the
musical listening charts
provided in your text.
Please refer to the section TO
THE STUDENT on page xvii
for a clear explanation
Mu H 101
41
WAGNER: Prelude to
Die Walküre
Wagner: Prelude, Act I to The Valkyre
A
B
A
B1
• Scale theme in Low Strings; crescendo and rise in pitch
• Preliminary Climax: Lightning theme in horns and woodwinds
• Scale theme; briefly subsiding; then crescendo
• Main Climax : extended, in full brass
• Collapse: timpani roll; sporadic lightning strikes; diminuendo
A
• Scale Theme (piece never comes to a cadence)
Mu H 101
42
RHYTHM (Duration)
There are several interrelated aspects of
understanding rhythm. They are:
•
•
•
•
•
Beat
Meter
Accent
Syncopation
tempo
61
RYTHMN EXAMPLES
I got rhythm (1930)
by George Gershwin
Unsquare Dance (1961) by
David Brubeck
Danse du Sabre by Aram
Katchaturian
79
1. Which one of the following instruments is not a woodwind.
a.
b.
c.
d.
e.
f.
Flute
Bassoon
English Horn
Oboe
French Horn
Clarinet
80
2.Which one of the following instruments is not a brass instrument.
a.
b.
c.
d.
e.
f.
Coronet
Trombone
English Horn
Tuba
French Horn
Euphoniam
81
3.Which one of the following instruments is not a string instrument.
a.
b.
c.
d.
e.
f.
Banjo
Violin
Harp
Piano
Cello
Viola
82
4.Which one of the following instruments is not a percussion
instrument.
a.
b.
c.
d.
e.
f.
g.
Snare drum
Clavé
Maracas
Cymbals
Timpani
Triangle
piano
83
5. The only string instrument in the orchestra that is plucked instead
of bowed is:
a.
b.
c.
d.
e.
f.
g.
Snare drum
Celesté
Violin
Harp
Trumpet
Clarinet
piano
84
6. Instruments that are played by the use of double reeds in the
orchestra are:
a.
b.
c.
d.
e.
f.
g.
Clarinets and Saxophones
Saxophones and Bassoons
Oboes and Flutes
Oboes and Bassoons
Trumpet and Piccolos
Clarinets and French Horns
Harp and Piano
85
7. The loudest section of the orchestra is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
86
8. The section of the orchestra that has instruments that play both
definite and indefinite pitches is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
87
9. The section of the orchestra that incorporates pizzicato, tremolo
and double stops as ways of expression and articulation is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
88
10. Which section of the orchestra is not included in a military band:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
89
11. The highest instrument of the woodwind family is:
a.
b.
c.
d.
e.
trumpet
Oboe
Clarinet
flute
piccolo
90
12. The lowest instrument of the brass family is:
a.
b.
c.
d.
e.
trumpet
Saxophone
Trombone
Tuba
Bassoon
91
13. The “tenor” instrument of the string family is:
a.
b.
c.
d.
e.
Cello
Violin
Double Bass
Viola
Harp
92
14. The organization of beats into regular groups is:
a.
b.
c.
d.
e.
timbre
volume
meter
measure
syncopation
93
15. Rhythm is:
a.
b.
c.
d.
An arrangement of notes through a continuum of time
Duration an individual note has set apart in the measure
Organization of beats in to groups
A fixed number of beats
94
16. A measure is:
a.
b.
c.
d.
Particular arrangement of note lengths in a piece of music.
Duration an individual note has set apart in the measure
Organization of beats in to groups
A fixed number of beats
95
17. An example of a tenuto or the longest stressed note would be:
a.
b.
c.
d.
e.
First marking on the left
Second marking
Center
First Right to center
Far right
96
18. Of the following Italian tempo markings which one is slowest:
a.
b.
c.
d.
e.
Moderato
Allegro
Presto
Adagio
largo
97
19. Of the following Italian tempo markings which one is fastest:
a.
b.
c.
d.
e.
Moderato
Allegro
Presto
Adagio
largo
98
20. Syncopation is:
a. When an accented note comes exactly where we expect it
b. A note precisely landing on the third beat of a measure
c. When an accent note comes where we don’t normally
expect it.
d. Always a displaced 4th beat.
99
1. Which one of the following instruments is not a woodwind.
a.
b.
c.
d.
e.
f.
Flute
Bassoon
English Horn
Oboe
French Horn
Clarinet
100
2.Which one of the following instruments is not a brass instrument.
a.
b.
c.
d.
e.
f.
Coronet
Trombone
English Horn
Tuba
French Horn
Euphonium
101
3.Which one of the following instruments is not a string instrument.
a.
b.
c.
d.
e.
f.
Banjo
Violin
Harp
Piano
Cello
Viola
102
4.Which one of the following instruments is not a percussion
instrument.
a.
b.
c.
d.
e.
f.
g.
Snare drum
Clavé
Maracas
Cymbals
Timpani
Triangle
piano
103
5. The only string instrument in the orchestra that is plucked instead
of bowed is:
a.
b.
c.
d.
e.
f.
g.
Snare drum
Celesté
Violin
Harp
Trumpet
Clarinet
piano
104
6. Instruments that are played by the use of double reeds in the
orchestra are:
a.
b.
c.
d.
e.
f.
g.
Clarinets and Saxophones
Saxophones and Bassoons
Oboes and Flutes
Oboes and Bassoons
Trumpet and Piccolos
Clarinets and French Horns
Harp and Piano
105
7. The loudest section of the orchestra is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
106
8. The section of the orchestra that has instruments that play both
definite and indefinite pitches is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
107
9. The section of the orchestra that incorporates pizzicato, tremolo
and double stops as ways of expression and articulation is:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
108
10. Which section of the orchestra is not included in a military band:
a.
b.
c.
d.
e.
Woodwind
Brass
Percussion
Strings
Keyboard
109
11. The highest instrument of the woodwind family is:
a.
b.
c.
d.
e.
trumpet
Oboe
Clarinet
flute
piccolo
110
12. The lowest instrument of the brass family is:
a.
b.
c.
d.
e.
trumpet
Saxophone
Trombone
Tuba
Bassoon
111
13. The “tenor” instrument of the string family is:
a.
b.
c.
d.
e.
Cello
Violin
Double Bass
Viola
Harp
112
14. The organization of beats into regular groups is:
a.
b.
c.
d.
e.
timbre
volume
meter
measure
syncopation
113
15. Rhythm is:
a.
b.
c.
d.
An arrangement of notes through a continuum of time
Duration an individual note has set apart in the measure
Organization of beats in to groups
A fixed number of beats
114
16. A measure is:
a.
b.
c.
d.
Particular arrangement of note lengths in a piece of music.
Duration an individual note has set apart in the measure
Organization of beats in to groups
A fixed number of beats
115
17. An example of a tenuto or the longest stressed note would be:
a.
b.
c.
d.
e.
First marking on the left
Second marking
Center
First Right to center
Far right
116
18. Of the following Italian tempo markings which one is slowest:
a.
b.
c.
d.
e.
Moderato
Allegro
Presto
Adagio
largo
117
19. Of the following Italian tempo markings which one is fastest:
a.
b.
c.
d.
e.
Moderato
Allegro
Presto
Adagio
largo
118
20. Syncopation is:
a. When an accented note comes exactly where we expect it
b. A note precisely landing on the third beat of a measure
c. When an accent note comes where we don’t normally
expect it.
d. Always a displaced 4th beat.
119