Band & Orchestra Composition Lesson: Rhythm, Melody, Ostinato, Texture & Final Piece, Study notes of World Music

Download Band & Orchestra Composition Lesson: Rhythm, Melody, Ostinato, Texture & Final Piece and more Study notes World Music in PDF only on Docsity! 8 Chapter One STUDENT WORKSHEET: LESSON 1. SOUNDSCAPES Name: _______________________________________ Date: _____________ Vocabulary Music: Music is ________________ and _________________ organized through time that communicates something to the listener or has meaning to the listener. Composing: Composing involves ___________________ sound and silence in a manner that is designed and prepared in advance. Composition: A musical composition is made up of sound and silence that is organized by a person or (persons) in a purposefully ___________________ way that can be repeated consistently. Soundscape: Just as a painter paints a _________________, a collection of natural scenery, or a _________________, a picture of many buildings and shapes in a city, a composer might create a _____________________, which is a collection of conventional or unconventional sounds that are organized in some way. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Soundscapes 9 Lesson Activities Soundscape Composition 1 1. Say “Shhhhhhhhhhhhhhhh.” 2. Silence. 3. Snap fingers. 4. Tap pencil on stand randomly—or all together on cue from the director. With a friend(s), compose your own soundscape. Organize your ideas and sounds by filling in the box below. Student Soundscape Composition Sound 1 Sound 2 Sound 3 Sound 4 [Only this page authorized for duplication.] Write one idea of a unique sound you can make on your instrument or body: Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Rhythm 27 STUDENT WORKSHEET: LESSON 3. RHYTHM Name: _______________________________________ Date: _____________ Vocabulary Pattern: A regular or repetitive form or a _______________________ design. Meter: The organization or grouping of beats in music, such as _________________ meter or a triple meter. Beat: The steady, repetitive _______________ or emphasis in music, like the human heartbeat. Rhythm: A _____________________ of beats in music. Free rhythm: A rhythm pattern that does ____________ stay in any set pattern. Strict rhythm: A rhythm pattern that remains ___________________. Tempo: The __________________ of the main pulse of a piece of music. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 28 Chapter Three Lesson Activities Rhythm from life: Write down or describe a rhythm from life. Either write the rhythm or draw the pattern somehow and describe how you would get your rhythm from life to be per- formed by an individual or ensemble. (Option: see if your pat- tern is a more duple or triple feeling, and label it with phrase markings or bar lines. Ask your teacher for help if needed). Step 1: Write or describe the rhythm here: OPTIONAL Step 2: Add pitch according to your teacher’s directions (low, medium, high, or specific pitches), or write down the group composition. [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Rhythm 29 TEACHER GUIDE: LESSON 3. RHYTHM: SUPPLEMENTAL MATERIALS Listening RECOMMENDED LISTENING FOR RHYTHM Steve Reich Different Trains This music uses actual human speech that is recorded and incorporates it into the texture of a string quartet, representing train rides at different times in history and in different places all over the world. Karel Husa Music for Prague 1968 The final movement has a “Morse code” kind of rhythm, representing a distress call. This music was written at the time the Russians were invading Prague. Gustav Holst “Hammersmith” The introductory music, repeated as a base ostinato motive, represents the River Thames, and then a bird call comes in. Rimsky- Korsakov “Flight of the Bumble Bee” This fun music speaks for itself! Percy Grainger Lincolnshire Posy, Movement 5, “Lord Melbourne” Creative use of free rhythm representing a swaggering and boastful soldier singing about his great victories, though now he is on his deathbed. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 42 Chapter Four STUDENT WORKSHEET: LESSON 4. MELODY (ORCHESTRA VERSION) Name: _______________________________________ Date: _____________ Vocabulary Melody: A series of musical ____________ that are grouped together to make a single musical idea. A good melody has ____________ and ___________. It is mostly ____________ and ends on the __________ or home base tone. It usually has some ________________. Improvising: Making up music on the spot without _____________ it out or writing it down. Lesson Activities On the back of this paper, draw the shape of the melody your teacher plays for you. Orchestra: Use the first five notes of D major to improvise an original melody. Violins: [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Melody 43 Violas: After you have improvised several ideas for a melody, try to write down your melody here, either with traditional notation or any type of graphic notation or word explanations or using a digital device. Ask your teacher for help if needed. [Only this page authorized for duplication.] Cello/Bass: Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 44 Chapter Four STUDENT WORKSHEET: LESSON 4. MELODY (BAND VERSION) Name: _______________________________________ Date: _____________ Vocabulary Melody: A series of musical ____________ that are grouped together to make a single musical idea. A good melody has ____________ and ___________. It is mostly ____________ and ends on the __________ or home base tone. It usually has some ________________. Improvising: Making up music on the spot without _____________ it out or writing it down. Lesson Activities On the back of this paper, draw the shape of the melody your teacher plays for you. Band: Use the first five notes of B- flat major to improvise an original melody. Flutes, bells, xylophone (C instruments, treble clef): Clarinets, trumpets, tenor saxophone, treble clef baritone (B- flat instruments): Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 56 Chapter Five Food Ostinato Student Composition Fill in food name(s) or phrases in the blanks below. 1 2 3 Step 2. OPTIONAL (ASK YOUR TEACHER IF YOU SHOULD DO THIS PART): Either below or on a separate piece of staff paper, write in the clef for your instruments (i .e., treble clef, alto clef, or bass clef). Write the words of your ostinato above the staff. Add the traditional musical notation on the staff. Add pitches (low, medium, high, or do, re, mi, etc., or as assigned by your teacher) and decide how many times to repeat the rhythm. Additional option 1: Come up with a contrasting rhythm by thinking of a different food name. Additional option 2: Improvise a solo while others play the ostinato. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield STUDENT WORKSHEET: LESSON 5. OSTINATO Name: _______________________________________ Date: _____________ [Only this page authorized for duplication.] Ostinato 57 Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 68 Chapter Six STUDENT WORKSHEET: LESSON 6. TEXTURES Name: _______________________________________ Date: _____________ Vocabulary Texture: Describes how music can sound ______________ or ______________ and how complex it sounds rhythmically and harmonically. Monophony: “________ sound”; _________ melody line; no accompaniment; can be more than one instrument or voice (thick) or a single instrument or voice (thin), as long as the _____________ notes and rhythms are being played. Homophony: One _____________ with chords accompanying. Most popular music styles like rock, folk, and country music use homophony. In pure ho- mophony, all voices move in the same rhythm. Polyphony: “Many sounds”; ____________ or more melodies at the same time (the melodies should have different rhythms). Lesson Activities CREATE a composition in three parts, with monophony, homophony, and polyphony. Optional notation: If your teacher asks you to notate your composition, draw the clef for your instrument on a piece of staff paper (treble clef, alto clef, or Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Textures 71 Texture Listening Exercise—Your teacher will play five different music ex- amples. Circle the correct responses below. Note that you could circle different numbers depending on how thin or thick you hear the texture to be. Use “1” for very thin, like a solo instrument playing, and use “10” for very thick, like a large band or orchestra playing, or two or more melodies simultaneously, or multiple complex rhythms all at once (poly rhythmic). For the monophony, homophony, and polyphony choices, try to circle which one represents the PRIMARY texture as demonstrated by the audio excerpt. Sample: “Amazing Grace,” sung solo and a capella: circle “Thin 1” and “monophony,” because it is a single melody without accompaniment. Texture Listening Exercise Circle one: 1 is very thin and 10 is very thick Circle one: 1. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 2. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 3. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 4. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 5. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 76 Chapter Six TEST 2: LESSONS 4–6. MELODY, OSTINATO, AND TEXTURES Name: _______________________________________ Date: _____________ Match the following words with their correct definition by writing the correct letter in the blank: 1. _____ Ostinato A. A pattern of notes that is repeated many times and can be used to accompany other musical ideas B. How music can sound thick or thin and how complex music sounds rhythmically and harmonically C. “One sound”; one melody line only; no accompaniment D. A part or whole of a word having one vowel sound E. Two or more melodies, equally important, at the same time F. One melody with chords accompanying G. Masking up music on the spot without planning it out or writing it down 2. _____ Improvising 3. _____ Syllable 4. _____ Texture 5. _____ Monophony 6. _____ Polyphony 7. _____ Homophony 9. Write a food name and then show how that food name could translate into music by writing it with traditional notation or demonstrating it on your in- strument. (Use the back of this paper if you need more room). Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Textures 77 Identify the following audio examples that your teacher will play for you as either thick, thin, monophony, homophony, or polyphony—circle your answers below. Listening for Texture Test 2: Questions 10 to 12: Listening for Texture Circle one: 1 is very thin and 10 is very thick Circle one: 10. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 11. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony 12. Thin 1 2 3 4 5 6 7 8 9 10 Thick Monophony Homophony Polyphony [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 88 Chapter Seven STUDENT WORKSHEET: LESSON 7. MOZART’S REQUIEM: DIES IRAE—LISTENING Name: _______________________________________ Date: _____________ Now listen to a performance of what Mozart wrote and circle his choices: Mozart’s Requiem: Dies Irae—Listening Worksheet You may circle more than one word in each category, but try to circle words that represent the PRIMARY musical concept for this music. A. Dynamics? Piano Mezzo Piano Mezzo Forte Forte Double Forte B. Tempo? Slow Medium Slow Medium Fast Fast C. Articulation? Gentle/Legato Marcato (Slightly Separated) Staccato / Crisp / Biting D. Emotion? Happy Mellow Angry Other: E. Timbre? Brass Woodwinds Strings Percussion F. Range? Low Middle High Do you think Mozart captured the spirit of the lyrics effectively? Why? Write your answer here: Compose! Use the following directions to create a new composition based on a selected text from your teacher. Compose a rhythm for your text based on the syllables of the text. Write the words here and then notate the rhythm underneath the words. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Text- Based Composing 89 1. Sound out the syllables by speaking them out loud. Be expressive! 2. Next clap and speak the text with your class or composition team to try to get a feel for the rhythm that fits the text best. 3. Draw vertical lines for each syllable below the syllable, representing the rhythm. Add stems and bars to the vertical lines to finalize a rhythm for the text. 4. Add phrase markings over the top of the rhythm that line up with the flow and structure of the text. 5. Figure out if there is a time signature that makes sense with the rhythmic flow and write the time signature into the music. 6. Mark in bar lines. 7. Compose a melody: Either as a class or individually, using the notes of a scale your teacher assigns, and use the rhythm from your text. Prac- tice this melody on your instrument and improvise until you are happy with the way the melody sounds. If your teacher asks you to notate the melody, write it on the staff on the next page. 8. Choose timbre: What instruments would you use to characterize the text? (Think about text painting; unity, variety, tutti, solo, duet, trio, etc.) 9. Assign dynamics: To represent the text, should the music be loud or soft or in- between? Crescendo, diminuendo? 10. Consider articulation: Should the notes be tenuto, staccato, or legato? Accented? Mixed? 11. Select a tempo and character description. Is it fast (allegro) or slow (adagio) or does it change? For example, you might label the tempo as “Andante Moderato” or “Medium slow, with great feeling” or “Fast and furious.” 12. Reflect: What other text painting could we do to musically describe the text? Consider whether any words or emotions should be represented using text painting. Describe your ideas here; then add them to the com- position. Ask your teacher for help if needed. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 90 Chapter Seven 13. Consider an accompaniment: Maybe add a soundscape accompaniment or an ostinato, keep a monophonic melody, or maybe create a canon and turn the piece into a polyphonic composition. Consider whether the text should be performed speaking or singing simultaneously with the com- posed music or alternating with the music, or whether the composition will be purely instrumental. Should there be a musical introduction or postlude of any sort? Write your ideas here and add notes to your staff paper if your teacher is having you notate this composition. [Only this page authorized for duplication.] 14. Record, listen back, and revise, if you have time. Reflect on your compo- sition: What did you like about it? Not like? How could it be developed or changed? Should we add any rests? Should we repeat? Maybe repeat with a different timbre? How is the range? Is the texture working well or should it be varied? Should we add a sequence? Should we develop the melody through augmentation? Diminution? Fragmentation? Write any ideas down here: Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 106 Chapter Eight Repose: ______________ or calm; relaxed; temporary rest from excitement or activity. [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Harmony 107 Name: _______________________________________ Date: _____________ Act out dialogue 1 between a parent and child and then discuss with your classmates whether there was tension in the dialogue, and if so, where it had the most tension and where it had the least tension. Dialogue 1: Between a Child (Student A) and a Parent (Student B) Student A. “I’m home from school.” Student B. “Welcome home! How was your day?” Student A. “Fine.” Student B. “Did you learn anything?” Student A. “Well, I learned that music composing is basically when you take sounds and silence and organize them.” Student B. “Well, that is exactly right; you must have a good music teacher.” Student A. “Yea, my music teacher is pretty cool: not every music teacher includes composing in their music classes.” Act out dialogue 2 between a parent and child and then discuss with your classmates whether there was tension in the dialogue, and if so, where it had the most tension and where it had the least tension. Dialogue 2: Tension and Repose (Student A acts as a student; Student B acts as the parent) Student A. “Dad/Mom, can I get an iPhone?” Student B. (soft, calm) “No.” Student A. “Please!” Student B. (a little louder) “No, I said no!” Student A. “All my friends have one!” Student B. (loud commanding voice) “No, you can’t have an iPhone!” Student A. (shout): “Ahhh!!!!!!!” Student B. (shout): “Go to your room!” (Dramatic pause/silence. Try to look sad.) Student A. (calm) “Sorry for shouting.” Student B. (calm, but reassuring) “I forgive you.” Compose your own dialogue and assign harmony and dynamics to it. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 108 Chapter Eight Student Handout for Dialogue Assignment—Sample Skit Name: _______________________________________ Date: _____________ Student Handout for Dialogue Assignment—Sample Skit Dialogue Harmony Dynamic Text Tension? Optional: Choose Timbre A Major p Hello, would you like some chocolate? Repose Right half of the ensemble OR Soli, 3 clarinets or violins B Major p No. Repose Left half of the ensemble OR Soli, 3 trumpets or violas A Minor mf Please. Medium Right half of the ensemble OR All woodwinds, or violins and violas B Cluster f NO! Lots! Left half the ensemble OR All brass or low strings A Minor p But, Little Right half of the ensemble OR 3 soli clarinets or violins B Cluster fff NO!! Lots Left half of the ensemble OR All brass and percussion or celli/ bass End None Silence None Release! None OR Everyone take a deep breath together. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Harmony 111 Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 112 Chapter Eight Name: _______________________________________ Date: _____________ Act out dialogue 1 between a parent and child and then discuss with your classmates whether there was tension in the dialogue, and if so, where it had the most tension and where it had the least tension. Dialogue 1: Between a Child (Student A) and a Parent (Student B) Student A. “I’m home from school.” Student B. “Welcome home! How was your day?” Student A. “Fine.” Student B. “Did you learn anything?” Student B. “Well, that is exactly right; you must have a good music teacher.” Student A. “Yea, my music teacher is pretty cool: not every music teacher includes composing in their music classes.” Act out dialogue 2 between a parent and child and then discuss with your classmates whether there was tension in the dialogue, and if so, where it had the most tension and where it had the least tension. Dialogue 2: Tension and Repose (Student A acts as a student; Student B acts as the parent) Student A. “Dad/Mom, can I get an iPhone?” Student B. (soft, calm) “No.” Student A. “Please!” Student B. (a little louder) “No, I said no!” Student A. “All my friends have one!” Student B. (loud commanding voice) “No, you can’t have an iPhone!” Student A. (shout): “Ahhh!!!!!!!” Student B. (shout): “Go to your room!” (Dramatic pause/silence. Try to look sad.) Student A. (calm) “Sorry for shouting.” Student B. (calm, but reassuring) “I forgive you.” Compose your own dialogue and assign harmony and dynamics to it. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Harmony 113 Student Handout for Dialogue Assignment—Sample Skit Dialogue Harmony Dynamic Text Tension? Optional: Choose Timbre A Major p Hello, would you like some chocolate? Repose Right half of the ensemble OR Soli, 3 clarinets or violins B Major p No. Repose Left half of the ensemble OR Soli, 3 trumpets or violas A Minor mf Please. Medium Right half of the ensemble OR All woodwinds, or violins and violas B Cluster f NO! Lots! Left half the ensemble OR All brass or low strings A Minor p But, Little Right half of the ensemble OR 3 soli clarinets or violins B Cluster fff NO!! Lots Left half of the ensemble OR All brass and percussion or celli/ bass End None Silence None Release! None OR Everyone take a deep breath together. [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 126 Chapter Nine Blank Form Chart: ABA Composition Part A Description of idea Dynamic Rhythm Texture (thick, thin, homo/poly/ monophony) Instrumentation (or timbre) Harmony and/or accompaniment Part B Description of idea Dynamic Rhythm Texture (thick, thin, homo/poly/ monophony) Instrumentation (or timbre) Harmony and/or accompaniment (Part A repeated—note any changes?) Description of idea Dynamic Rhythm Texture (thick, thin, homo/poly/ monophony) Instrumentation (or timbre) Harmony and/or accompaniment Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Form 127 Name: _______________________________________ Date: _____________ ABA Composition [Only this page authorized for duplication.] Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 136 Chapter Ten STUDENT WORKSHEET: LESSON 10. FINAL COMPOSITION PROJECT Name: _______________________________________ Date: _____________ Vocabulary Layering: Putting things on ________ of one another. In music, this involves putting musical ideas on top of one another, different ideas sounding to- gether. Channel surfing: When watching TV, _______________ channels randomly as soon as you get tired of one channel or have seen enough to know what is going on at that channel. In music, it is kind of like switching music radio stations: as soon as you hear enough to know what is going on, you switch the channel. Some channels may attract you more than others, so you may listen to them longer. Form: The ______________ of a musical composition, such as ABA, sonata form, theme and variations, or rondo form (in other words, how a piece is ______________). Rondo form: A structure in music that involves a main theme that alternates with ________________ themes, such as ABACA or ABACADA. Theme and variations: A main musical theme is presented, and then variations are created, all related to the main theme, through altering different aspects of the theme. Musical elements from these composition lessons—such as soundscape accompaniments, rhythm, orchestration or _____________, texture, melody, harmony, and tempo—may all be changed to offer differ- ent feelings and interpretations of the original theme. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Final Composition 143 TEST 3: LESSONS 7–10. TEXT- BASED COMPOSING, HARMONY, FORM Name ___________________________________________________________ Match the following words with their correct definition by writing the correct letter in the blank: 1. _____ Word or text painting A. A pattern of beats in music B. A part or whole of a word having one vowel sound C. An attempt with music to represent a certain word or words in a text D. A combination of three or more musical tones performed at the same time to produce chords E. Three notes with the intervals major third plus minor third F. Three notes with the intervals minor third plus major third G. Two or more notes in a “cluster” such as ma- jor second plus major second H. When there is rhythmic fighting, harmonic complexity (dissonance), melodic intensity I. When a musical phrase feels like it has come to an end; when a dissonance moves to a con- sonance; when a rhythm comes to a rest or a steady place J. The structure of a musical composition, such as ABA, sonata form, theme and variations, or rondo form (in other words, how a piece is organized) K. The concept of several ideas forming a com- plete and pleasing whole; a piece of music is unified when there are elements that tie it together, such as rhythm, melody, or harmony L. The concept of being noticeably different from something else M. Putting things on top of one another; in music, this involves putting musical ideas on top of one another. N. When watching TV, switching channels ran- domly as soon as you get tired of one channel or have seen enough to know what is going on at that channel 2. _____ Major chord 3. _____ Cluster chord 4. _____ Rhythm 5. _____ Tension 6. _____ Syllable 7. _____ Layering 8. _____ Harmony 9. _____ Form 10. _____ Minor chord 11. _____ Contrast 12. _____ Channel surfing 13. _____ Unity 14. _____ Resolution (release) Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 144 Chapter Ten 15/16. How does Mozart use text painting in the following audio example: Mozart: Requiem in D Minor, K 626–3: Sequentia, Dies Irae. Circle the two correct answers: A B C D A. A minor key represents sadness and anger. B. A major key is used to represent sadness and anger. C. Cluster chords are used to create a hopeful, happy soundscape. D. Sharp articulations and rhythms are used to create an angry and desper- ate feeling. 17–25 (8 pts. total: 4 pts. rhythm; 2 pts. bar lines; 1 pt. phrases; 1 pt. time signature) 1. Derive the rhythm from the following text. 2. Figure out the phrases, groups, or patterns of rhythm and add phrase markings. 3. Figure out the time signature based on the phrases and write the time sig- nature at the beginning. 4. Mark where the bar lines should go and insert them based on the phrases and the time signature. “See a pin, pick it up, all the day you’ll have good luck!” 26–30. Identify the form of a piece of music from your ensemble repertoire or as assigned by your teacher and describe the character of the theme(s) (4 pts.): Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 149 Appendix 1 Dynamics and Articulations Charts Dynamics Chart Italian Term English Translation Pianissimo (pp) Very soft Piano (p) Soft Mezzo piano (mp) Medium soft Mezzo forte (mf) Medium loud Forte (f) Loud Fortissimo (ff) Very loud Crescendo Get gradually louder Decrescendo Get gradually softer Sforzando (sfz) Strong, sudden accent Subito piano (sub. p) Suddenly soft Morendo Dying away Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield 152 Appendix 2 Cluster chord: Two or more notes in a “cluster” such as Major second plus major second. Improvising: Making up music on the spot without planning it out or writing it down. Layering: Putting things on top of one another. In music, this involves putting musical ideas on top of one another, having them played at the same time. Melody: A series of musical tones that are grouped together to make a single musical idea. Music: Sound and silence organized through time that says something to the listener or has meaning to the listener. Ostinato: A pattern of notes that is repeated many times and can be used to accompany other musical ideas. (Original Italian word meaning is stubborn, or persistent, as in the pattern is continually repeated and won’t stop!) Pattern: A regular or repetitive form or a repeated design. Pentatonic scale: A five- note scale. (One common pentatonic scale uses these pitches from a major scale: 1, 2, 3, 5, 6.) Range: How high and low an instrument can play. Repose: Rest or calm; relaxed; temporary rest from excitement or activity. Resolution (repose): When a musical phrase feels like it has come to an end; when a dissonance moves to a consonance; when a rhythm comes to a rest or a steady place. Rhythm: A pattern of beats in music. Triple: A feeling or grouping of three beats. Duple: A feeling or grouping of two beats. Scale: A set of notes that ascends and descends according to given rules. Major scale rule: Whole step, whole, half, whole, whole, whole, half. Pentatonic scale: Whole step, whole, minor third, whole. Soundscape: A collection of sounds organized and put together. As a painter paints a landscape, the composer can create a soundscape. Syllable: A part or whole of a word having one vowel sound. Texture: How music can sound thick or thin and how complex it sounds rhythmically and harmonically: Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield Appendix 2 153 Monophony: “One sound”; one melody line only; no accompaniment; can be more than one instrument or voice (thick) or a single instrument or voice (thin), as long as the same notes and rhythms are being played. Homophony: One melody with chords accompanying (blended, like ho- mogenized milk). Most popular music, such as rock, folk, and country music, uses homophony. In pure homophony, all voices move in the same rhythm. Polyphony: “Many sounds”; two or more melodies, equally important, at the same time. (The melodies should have different rhythms.) Tension: When there is rhythmic fighting, harmonic complexity (disso- nance), melodic intensity. Timbre: The quality of a sound that makes it unique from other sounds, such as the difference in quality between a trumpet sound and a violin sound performing the exact same pitch. Instrumentation and color are other simple ways to refer to timbre. Traditional notation: Music notes with stems and heads on a five- line staff (traditional Western art music notation). Unity: The concept of several similar ideas forming a complete and pleasing whole. A piece of music is unified when there are elements that tie it together, such as rhythm, melody, or harmony. Variations: Modifying a melody or main musical theme so it has new, con- trasting parts, yet is similar enough to be recognized as the main theme. Word painting (text- painting): When a composer tries to represent a certain word or idea in a specific way with music. For example, for the word sunrise, the composer could choose to have rising musical lines, perhaps upward- moving scales, representing the sun rising up in the sky. To represent “anger,” a composer might choose very loud, accented, dissonant chords. Excerpt from Composition Concepts for Band and Orchestra / Rowman & Littlefield