2nd inversions of major and minor triads - sibelius - avid · write the 2nd inversion of each...
TRANSCRIPT
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Many worksheets let you choose how many questions you want, which are picked at random.Sibelius produces both a student sheet (like this) and a completed answer sheet to save time when marking.
2nd Inversions of Major and Minor Triads
July 04, 2005 Name ________________________
Class ________________________
1
Write the 2nd inversion of each chord.
2
3
4
5
6
7
8
9
10
11
12
13
14
15
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This is the completed answer sheet.
2nd Inversions of Major and Minor Triads
July 04, 2005Answer Sheet
How to complete: on paperGroup size: individual
1
Write the 2nd inversion of each chord.
D
2
Cmin
3
Bbmin
4
B
5
Ebmin
6
F#min
7
A
8
Amin
9
A#min
10
C#min
11
Fmin
12
E
13
F#
14
Cb
15
Db
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July 04, 2005 Name ________________________
Class ________________________
Name Common InstrumentsWrite each instrument's name.
1 ______________________ 2 ______________________ 3 ______________________
4 ______________________ 5 ______________________ 6 ___________________
7 ______________________ 8 ______________________ 9 ______________________
10______________________ 11______________________ 1212______________________
13______________________ 14______________________ 15______________________
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The Road Not Taken
There are dozens of poems to set to music, to use for programme music, or to study word rhythm with.
Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth;
Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same,
And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back.
I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I – I took the one less traveled by, And that has made all the difference.
by Robert Frost
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Composing a Bebop Melody
Read through this worksheet and then try constructing your own melody on the Sibelius Melody Template.
STAGE 1
Play through the following broken chords. Improvise melodic patterns using the notes of each chord. This is called chord tone improvisation. Start by focusing on just one chord. When you are confident try stringing one chord after the other. Try playing patterns over several octaves. Aim to make your improvisations ‘singable’ - this is the sign of a good tune.
Cmaj7
C
E
G
B
Dm7
D
F
A
C
F
F
A
C
F
Fm7
F
Ab
Cb
Eb
C7
C
E
G
Bb
E7
E
G#
B
D
A7
A
C#
E
G
D7
D
F#
A
C
G7
G
B
D
F
STAGE 2
Try composing a melody for the first four bars of the song. At this stage, limit yourself to chord tones only. Notice in the example below that the starting note of each new chord is always very close to the last note of the previous chord - this creates a smooth transition through the chord sequence
A smooth transition between chords is created by selecting lead notes carefully.
Cmaj7
E
E C
A7
C#
A G E
Dm7
F
A C A
G7
B
G
Cmaj7
E C E G
A7
A
G
E
Dm7
F
A C D
G7
B
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African Drumming
1. Draw an arrow corresponding with the area or country you think the extract is from.
You will hear four extracts of drumming from different parts of Africa.
Rhythmic ostinato accompanying a woodwind (reed) instrument. Heavily ornamented melody.Polyrhythmic drumming with call and response vocal.Homorhythmic drumming. Call and response introduction.Conversation between a drummer and his instrument. Irregular rhythm patterns.Rhythmic ostinato accompanying an ornamented woodwind (reed) solo. Imitation with voice.
Write the extract’s number next to the statement. One of the statements does not fit any of the extracts.
2. Match the statements below to each of the extracts.
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Choose from nearly 200 posters & flashcards.
F
CG
Bb D
Eb Circle of Fifths A
Ab E
C#
Db F# BCb
Gb
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Andantino con moto No.1Arabesque
Claude Debussy(1862-1918)
The Worksheet Creator includes over 400 pieces of selected repertoire for piano, voice and other instruments, suitable for arranging, performance and analysis.
3
3
3
3
p
3
3
3
3
rit.a tempo
pp
3
3
3
3
cresc. poco a poco
stringendo
sempre cresc.
3
3
rit.
p
3
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MEXICAN FOLK SONG
Chiapanecas
UnLin
Includes songs in 14 world languages
clada
-
velflor
-
de_abcor té_y
ril
-
porto
la
ma_es
sierte
- cla
ra- fuivel
ca
que
mite
- ni
brin
- to
do
--
decon
mipa
-
ran
sión.
cho.
-
CoNo
mo_el
me
viendi
to
gas-
-fueno,
mi
que_en
catu
babo
- llo
ca_es-
-fieltá
-
AEl
llese
varcre
--
me_hasto
-
-tade
-
sumi_am
laor
-
do.
-
Cuan
do- la
no
che
- lle
gó,
-
(clap,
clap)
yconsu
man
to
- de_a
zul
-
(clap,
clap)
Elblan
co
- ran
cho
- cub
rió
-
(clap,
clap)
aleg- re_el
- bai
le_em
pe- zó
-
(clap,
clap)
Bai
la,
- mi
chia
pa
- ne
- cas
- Bai
-
la,
bai
la
- su
gar
bo,
- Bai
la,
- sua
ve-
ra
yo
- de
luz
La,
la,
la
Bai
la,
- mi
chia
pa
- ne
- cas
- Bai
la,
- bai
la- su
gar
bo,
-
que_en
el
bai
le
- rei
ne_e
- res
- tu
Chia
pa
ne
- cas
- gen
til
- (clap,
clap)
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Name ________________________
Class ________________________
Two-bar Question and Answer Melodies
Improvise a musical answer for each musical question.
1.
2.
3.
4.
5.
6.
7.
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French Horn
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June 16, 2005 Name ________________________
Class ________________________
Evaluate Notes and Rests RL4a
q + q + q + =1
iq + =2
+ EA APEAA AE + iq =3
h + =4
q + + q =5
E.AA AA X + =6
e. + e. + q + + q + x =7
+ EA APEAA AE + x + h + jq =8
iq + iq + =9
jjjq + =10
q + =11
q. + o =12
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