Professional Documents
Culture Documents
Talleres y teoria
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BqSS DfUm
The bass drum is one of the most mportant instruments in band. Hold the bass drum mallet with your right hand (matched grip). Place your left hand on the head opposite the striking surface. Strike the bass drum half-way between the center and the top rim, pulling the sound out of the bass drum, B.D. is tlLe abbreviation for bass drum,
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FIRST FIIGHT
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ESSENTIAL ELEMENTS QUIZ
Fill in the remaining note names before playing.
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Holf Note
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Holf Rest
= 2 Silent
Beats
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15.
Clap
RHYTHM RAP
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Alfernqte Sticking
A hand to hand sticking pattern usually beginning with the right hand.
Boss Drum
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QUlz
lJsing the note nomes and rhythms below, draw the merody notes on the staff before praying
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Whole Rest
A Whole Measure
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20,
RHYTHM RAP
1a2a3&4
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Muttiple Bounce
Multiple bounce sticking is your first step to learning the roll. Simply let the stick bounce freely on the drum head, like this:
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22.
SPIIT DEC|S|ON
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- Duer
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your percussion port as the brass and woodwinds ptay their duet parts.
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26.
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RUdimenfS
Rudiments are the basic techniques of playing snare drum. You should practice and memorize rudiments to improve your skill. The flam is your first rudiment.
Flom
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The small note is a grace note. lt has no rhythmic value and sounds just ahead of the regular sized, or primary note. The primary note sounds on the beat.
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Right
-*_]_-
Hold the left stck about 2 inches above the drum head. Hold the right stick in the "up" position. Move both sticks at the same speed. The left stick will hit the drum just before the right stick. Let the left stick rebound to the "up" position, and the right stick rebound to the 2 inch position, Hold the right stick about 2 inches above the drum head. Hold the left stick in the "up" position. Move both sticks at thb same speed. The right stick wll hit the drum just before the left stick, Let the right stick rebound to the "up" position and the left stick rebound to the 2 inch position.
left Hond
----+--+---
Flom
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A flam produces a sound that is slightly longer than a regular note (a tap). Listen to the difference between flams and taps.
27.
REACHING HIGHER rR nL
Fermata
28.
AU CLAIRE
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Hormony
Two or more notes played together. Each combination forms a chortl. Listcn to the band's harmony while you play.
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30.
TONDON BRIDGE
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Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who started playing professionally at
than 600 compositions during his short life, including a piano piece based on the famous song,,,Tirinkle,Twinkle, Little Star,,,
Hewrotemore
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Triongle
fingers, Trl.
The triangle should be suspended on a clip and held at eye level. Use a metal triangle beater and hit the triangle opposite the open end. To stop the sound, touch the nstrument with your
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A MOZART MELODY
Adaptation
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32.
Draw these symbols where they belong and write in the note names before you play:
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Each Eighth Note or Rest = l/z Beat 2 Eighth Notes or Rests = 1 Beat
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34.
DOODTE
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A pattern in which two consecutive notes are played with the same hand (R Double Stcking, or Doubling is an important skill for snare drum.
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One or more notes that come before the first ful/ measure. The beats of pick-Up Notes are subtracted from the last measure.
3.
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JINGLE BELLS
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40. RHYTHM RAP CIap the rhvthm while counting and tapping'
Clop
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Multiple Bounce Eighth Notes
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Special Percussion
Exercse
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One single cymbal suspended on a stand. Always use yarn mallets, not is the abbreviation for suspended cymbal'
Suspended Cymbol
42.
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Cup your palm to form a resonating chamber under the wood block. drum stick if necessary' Cuived wood block-strike on top near the center using a hard rubber maltet or snare You block-the best sound is toward the edge of the top surface near the side with the open slit' Flat wood A drumstick does not produce a good sound should use a hard rubber mallet or wooden xylophne mallet.
on a flat wood block. Wd. Blk. is the abbreviation for wood block'
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proficient on the piano, Italian composer Gioacchino Rossini (1792-1868) began composing as a teenager and was very of his forty operas, and its familiar theme is still heard today on viola and horn, He wrote "William Tell" at age 37 as the last radio and television.
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Crosh Cymbols
Hold the left cymbal in front of you at a slight angle. Allow the right cymbal to be positioned slightly above and slightly in front of the left cymbal' Learn the basic stroke for a quarter note. Using a glancing stroke (and gravity), allow the right cymbal to drop into the left cymbal and follow throughl This same motion is used for hlf notes, but slower in speed, For whole notes, the same motion is slower than for half notes'
To stop the sound of the cymbals, bring both edges of the plates against your body.
kr kr
tr h.
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Choke = muffle (or stop) the sound immediately. Cr. Cym. is the abbreviation for crash cymbals.
45,
ESSENTAL ELEMENTS
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QUIZ
WIIIIAM
TELL
Gioacchino Rossini
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Time Signofure :3, 2 beats oer measure _t]--!})r'1+- = Quarter note gets one beat -
Conducting
Practice conducting this two-beat pattern.
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46,
RHYTHM RAP
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Rudimenf
Flom ToP
will After you play a flam, play a tap, always with the low hand' This rest of the exer cise' keep your hands correctly positioned for the Remember, a tap is played with the stick closest to the drum head'
Solo
leading part' ln ensemble music,5o/o marks a passage where one instrument takes a places marked 5olo. ln the next exercise,the Bass Drum is featured in the
(measures I and 2) to the regular floms in measure 3 Be careful to montan the same tempo when going from flam taps
BR
Tempo Morkings
Tempoisthe speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo
SCHOOI CADETS
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John Philip Sousa
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49,
S,D.
Moderato
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Hold the tambourine steady in your left hand at a slight upward angle. Your right hand strikes the head of the instrument according to the written dynamics: Soft light sounds use one or two fingertips near the edge of the head. Medium loud sounds use tips of all fingers one-third of the way from the edge to the center. Loud sounds knuckles on head, half-way between edge and the center' Use a motion similar to knocking on a door.
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Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer)
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l il a SuSpended Cymbol Roll '
With yarn mallets on a suspended cymbal, use a rapid series of alternate strokes on the opposite edges of the cymbal (3 o'clock and 9 o'clock). Increase the speed of the roll to build an effective crescendo'
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52.
PERFORMANCE WARM-UPs
TONE EUILDER
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36
RHYTHM ETUDE
RHYTHMRAP
Remember: how your hand strikes the tambourine is determined by the dynamics
let Ring
CHORALE
Andante
Sus. Cym.
,l^=
The same effect is sometimes marked /.v. (let vibrate) or /.r. (let ring)'
L.tthesoundcontinueto"ring"wthoutstopping. ltisacommonindicationfortriangleorcymbals.
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Remember: start softly to make an effective crescendo'
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"fundamental" sound. Striking the side opposite the open end will produce a produce a sound with more overtones (ringing). Strikini the bottom leg will with music. lt's your choicel Listen io the band anddecie which sound works best
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53.
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When playing sus.cym,with sticks,the best sound is usually one thircl or one half the distance from the edge to the dome
56.
S.D.
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teacher.
Stand in a comfortable position near the instrument. The raised keys should be pointing away from you. bells' set the instrumenr on a tabre or stand about waist hish. rhe rarser iijrT:
Adjust the music stand to about eye level. This enabres you to easiry read the music and watch your
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2.
Slep
for all keyboard percussion nstruments levs is the same as the piano. Notce sequence is in alphabetical order from that the A-G. This diagram of orchestra bells will help you find F. yourteachertohelpyouplayFifyouareplayinguJn
r"n,keyboardpercussioninstrument.
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Your first note is F.
READING IVIUSIC
Music Sfoff
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ldentify and draw each of these symbols:
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tin.,
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The music staff has 5 lines and 4 spaces where notes and
rests
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8or Line
Mealre
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Bar Line
I
Bar Line
Ledger lines extenC the music staff. Notes on ledger lines can be above or below the staff.
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long
Tone
H
new note.
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t t t
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en
F
The Beot
The beat is the pulse of music, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat, Tap your foot down on each number and up on each "&,"
Onebeat =
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A hand
a Cil a t
1 beat
1
silent beat
Alternofe Sticking
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3.
A NEW NOTE
This note
is "Eb
(E-flat)."
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5. HEADING DOWN
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Double Sticking
6. MOVING ON UP RRLLR
A pattern in which two consecutive notes are played with the same hand (RRLL, RRLL). This pattern may begin with either a double right or double left sticking.
- Double
Sficking
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Repeof Sign
Double Bar
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Nofe Nqmes
Each note is on a line or space of the sta'f These note names are indicated by the Treble Clef.
\/
indicates how many beats per measure and what kind of note gets one beat.
= =
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=
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raises the note and remains in effect for the entire measure.
cancels a flat (b or sharp ($) and remains in effect for the entire measure.
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2 &3
FIRST FTIGHT
&
ESSENTIAL ETEMENTS
QUIZ
n
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Go to the next
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ROLLING ALONG
line.
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Hqlf Rest
= t--?t{^
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t
while counting and tapping. RepeotSign
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t&2&3&4&
1s,2&3&4&
1&z&3&4&
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Combination Stickins
LRL
1&2&3&4&
1&2&3&4& 1&2&3&4&
1&2&3&4& I&2&3&4&
.1
&2&3&4&
17.
A sticking pattern that begins with the right hand and keeps the right hand on strong beats.
LRLR
using the note names and rhythms below, draw your notes on the staff before ptayng.
))))))) E6FEbDEbDC
)
Bb
)
c
)))) DIEbDEb
Llo
) )
Whole Note
O--------------)
=4
Beats
Whole Rest
A Whole Measure of Silent Beats
Whole
Rest
Half Rest
I
) ) ) ) )
) ) ) )
1&2&3&4&
while counring and ropping.
hangs
a staff
from line.
1&2&3&4&
1&2&3&4&
1&2&3&4&
1&2&3&4&
21,
I t
1&2&3&4& DUgt
1&2&3&4&
1&2&3&4&
1&2&3s44
1&2&3&4&
1&2&3&4&
A composition with two different parts, played together. Practice this duet with a friend or play both parts yourself.
t t t ) t
) ) ) ) )
22.
A
SPIIT DECISION
- Duet
ulll
A B
Key Signoture
Left Hqnd leod
The Key Signature tells us which notes to play with snarps music. Your Key Signature indicates the Key of
Bb
(fi)
as E-flats.
{ t o F
A sticking pattern that begins with the left hand and keeps the left hand on strong beats.
t I
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)
23,
LLRLFI
LRLLRLRL
) )
S Ploy
Bb's
ond
Eb's
24,
Woodwinds
Brass
Brass
All
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1'r
I
Simile
Gn.)
ti
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D
26. ESSENTIAI
ELEMENTS QUIZ
n
qrt
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il
Fermofq
27,
REACHING HIGHER
- New Note.
Fermato
28, AU CI.AIRE DE
LRLR
LA LUNE
L R
29.
REMIX
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l-
Hormony
LONDON BRIDGE
30.
A
- Duet
a)
Ar
o F
Austrian composer Wolfgang Amadeus ihorart (1756-179'l ) was a child prodigy who started playing professionally at
agesix,andlivedduringthetimeof theAmericanRevolution. Mozart'smusicismelodicandimaginative. Hewrotemore than 600 compositlons during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little Star."
3I.
A MOZART METODY
RRLLHRL.rim.
Double Stickins
Adaptation
q
q d d
ESSENTIAL ELEMENTS QUIZ
Draw these symbols where they belong ond wilte n the note names before you play:
q q
32.
$,lt
n
T
4A
I
I
tr
AF
34.
DOODLE
RR
Note
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l
t.l
l
ALt DAY
LL
R
Combination Sticking
ILRRLR
35.
JUMP ROPE
Pick-Up Notes
One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure.
3.
Sticking
4&
1&2&3&4& mf - mezzo forte (play moderately loud) - forte (play The higher you lift the mallet, the louder the note will sound.
1&2&3&
Dynomics
loudly)
37.
Clap
f
38.
JINGIE BEttS
J.5. Pierpont
39. MY DREYDT
Traditional Hanukkah So
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t_1,3
&
10
Eighth Notes
f)
1&
j*
Note =
1/zBeaf
J--'
Each Eighth
Beam
--=,t aaaoaaao
1&2&3&4&
1&2
41.
J'r
42.
Alternate Sticking
RLR
44. OH,
SUSANNA
4
6
o F 45.
proficient on the piano, Italian composer Gioacchino Rossini (1792-l 868) began composing as a teenager and was very its familiar theme is still heard today on vbla and horn. He wrote,,Willam Tell" at age 37 as the last of his forty operas, and radio and television.
WILLIAM
TELL
Gioacchino Rossini
n
t44
a o o
, Time Signofure
)& -(Wa)
Conducfing
= 2 beats Per measure Quarter note gets one beat
Practice conducting this
two-beat pattern.
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t
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ct
46.
Clap
RHYTHM RAP
fl
q
0
O
o o
1&2&
1&2&
1&2&
47.
TWO BY TWO
tl 0
fa
il
Tempo Morkings
Tempoisthe speed of music. Tempo markings are usually written above the stafl in ltalian. Allegro - Fast tempo Moderato - Medium tempo Andante - Slower walking tempo
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t dr t t
l
fl il
Ff
R{
t t
It
GF
Dynomics
IVloderato
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l
F{
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50.
Clap
l
l
5I.
Lll
PERFORMANCE SPOTTIOHT
52.
PERTORMANCE WARM.UPS
TONE EUILDER
RLRL
RLLA
RHYTHM RAP
CHORALE
MelOdiC StiCking
line. An approach rhat combines all the various stickings to create the best performance of the melodic
'53.
-1-,.'i'r'F /A
,AURA tEE
Andante
LFLR
Poulton
ol
Ar
"fRL "f
RLR
p
RL
R LF
RLRL
RL
R LR
LRL
R LR
-rAds
,i1c.
A
RLRL
A
I
umf
ATRLR
-p
LRL R LR
RL
"f
R
p
R
R .L
RL
RL
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"*f
54.
FRERE JACQUES
Melodic Sticking
=::>nlP
Round
Moderato
-f
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I
J,I
,{
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) )
PERFORMANCE SPOT!.IOHT
Allegro
t
D
n
f,
5.
- Section Feqture
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FO
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e t
57.
ODE TO JOY
Moderato
Flr
FID
bo
FO
ko
58.
- Encore
John Higgins
h. h.
ko ko ka
J
h-
ffi";;; "scriuen c1u medio tono a la nota indica que se eleva 1 E1 sostenido tll"rru.
del soste *"l"taelefecto otro signo, elbecuadro Hay nota y d.1;;*;1 defando ta 'oni" bemor doble sostenido Y Tambin se usa el bajan un tono respectivamente'
cambio olteracifu signos We lndican Hay en musica dos swrvr pvY--- t!r: 'irn t el tono original' 'E[uD eltono oflgmal' A encabe-zamieftto afectan la nota {ue aites e todr ltimo caso' afectan oentagma o esPacio'
ffi;;;;-t:*:
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;t*t
El bemol, qlre
se
**
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t,,
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-*"" t
y descendentemente'
'1f
l.
I
instrumentos que existan se usaban como respaldo de para acompaar los bailes.
lc c
En un principio esta msica vocal era monofnic (a t'rq vt pero por el siglo XII los compositores hicieron uso de combinacftr de voceso 1o cual los llev a la polifonla, o sea mrisica r varias voces. Mas tarde compusieron msica para ser tocada instrumentos solos. Las combinaciones alcanzadas con las disfir voces humanaso fueron tambin tocadas por los instumtm'
De este modo empezaron a aparccer pequem gntpc intrpretes instrumentales que tocaban en dos, tosr coE
quintetos, sextetos, orquestas de cmara,
grandes orquestas.
posteriormenE'
adelante, el perfeccionamiento & instnrnaentos hizo que aume4tara no slo el nmero de sfc s el nmero de msicos en las agrupaciones instrumentales. Lo r comenz con un pequeo grupo de teinta intrpretes, alca con Wagner en el siglo XIX el nmero de 100 integrantes. Co consecuencia de este desarollo, se prest gran atencin a los efe de timbre y a la dinmica. Desde principios de este siglo una orqut sinfnica o filamrnica cuenta con 120 msicos, miis o me,nos.
Los instrumentos que comporen la orquesta sinfnica clasican en tres grupos: a) caerdas, b) viento y c) petcwi
adems
Los instrumentos de cuerda (ms de la mitad de la orqe producen sonido al ser frotados con el arco. (Hay otros cuyas ctra son punteadas y otros, percudidas. ) Los instrmentos de cuerda Enalo4Qea;Fh'!as,o!qe, el vbln,la viola, el violonchelo y el contrabaio. De la longihr grueso y la tensin de las cuerdas depende la altura de los tonoe Como ingles se pueden producir; por eso, el ejecutante hace mas o menos agud sonido al presionar la cuerda con los dedos, acortando o extendie la seccin vibratoria. Estos instrumentos tienen cuatro cuerdas son afinadas por medio de clavijas; su sonido es aumentado rc caja de resonsncia. En los insffumentos de cuerda pueden obten variados efectos en la interpretacino como el glissando (resbal el pizzicato (pellizcar) y eL trmolo (repeticin rpida de una nr En el orden: Clarinete, Clarinete En orden de tamao, tenemos el violn y la viola que se colocu Fagot, Contrafagot
bajo,
t'
i
tl \,
4q
el hombro y bajo la barbi[a; el olonchelo que descansa en el suelo y que obliga al ejecutante a tocar sentado, y el contrabajo que porlu tamao ene que ser tocado de Pies. casi todos los grandes msicos han compuesto para el cuarteto de cuerdas, formado por dos violines, una viola y un chelo. Los inslrantentos de vienla se llaman as porque los sonidos se producen al pasar el aire por el tubo y se obtienen los distintos tonos
por el uso de aberturas con claves y lengiietas y variando la longitud del tubo sonofo. Los instrumentos de viento se dividen en dos grupos: a) maderas (porque originalmente eran hechos de madera; hoy casi todas las flautas se hacen de plata o nquel), b) metales . Maderas: Flauta y flautn o piccolo, que se soplan por una abertura al costado y en el exhemo superior del instrumento; oboe, corno ingls, clarinete, clarinete bajo, saxofon, fagot, contra fagot, que se tocan con una boquilla. Metales: Corno &ancs, la trompeta, el trombn y la tuba. Producen sonido al soplar el msico colocando los labios en una boquilla de forma cnica. Se varan los tonos por medio de vlvulas, y en el caso del trombn, alargando el tubo metalico.
Los instrumentos de pereusin, que producen sonidos al ser percutidos (golpeados) se dividen en dos grupos: a) con tono determinado, como los timbales, el carrilln las campanas (tubos metalicos) y el xilofn o xilfono (madera). b) con tono indeterminado, como el tambor (bombo), el tambor militar, el tringulo, los platillos, el gong, las castauelas, panderetas, mafacas, claves, etc.
En la orquesta se usan a veces otros instrumentos especiales: El arpa, muy antiguo instrumento de cuerda punteada, con un serie de pedales para subir o bajar los tonos.
Carymas
ffiW
Timbales
'
La celesta, pequeo instrumento de teclado y lminas de meta con sonido muy dulce. El piano es para nosoos el instumento mrs familiar. Es de cuerdas percutidas por'martillos que reciben su impulso al golpear los dedos las teclas del instrumento. Tiene alrededor de 7 ocfavas. Los pedales sirven para sostener y cortar el sonido. Las cuerdas varan en longitud y grueso para producir su extensa gama de sonido: Hay pianos verticales (con cuerdas verticales) y de cola (con cuerdas horizontales) que tienen mayor sonoridad y, por eso, son usados en los conciertosEl piano pas por un proceso largo de evolucin. Del rgano se torn la idea de usar las teclas para hacer vibrar las cuerdas, y as naci el clacmbalo, con cuerdas horizontales- En el siglo XVIII, el italiano Bartolomeo Cristofori, fabrico el clavicmbalo con "piano e fortei'pues se poda tocar suave y fuerte. El nombre del instnrmento paso de piano-forte a piano. Gradualmente fue mejorado,
ffp
50
engrandecido y forticado y pronto aument la produccin de pianot especialmente en Alemania y Ausfia Con esto, se generaliz est
instrumento que atrajo mucho p{rblico a las salas de conciert< Muchos compositores han compuesto casi exclusivamente para ( piano y hoy se toca en l muchas de las composiciones escrit originalmente para arpicordio y clacordioHay muchos instrumentos musicales, que armqu no se usn e la orquesta sinfonica, son de gran aceptacine,utre 165 amantes de I msica. Entre los de cuerda estiin la guitane y la mrndolina'
varios teclados, para producir distintos efectos. Es notable el &gU Hammond cuyos sonidos son producidos por medios elecnico El armonio, cuyo sonido se produce en lminas de metal que vibn por accin del aire impulsado por los fuelles y tiene teclado y ped La armnica funciona en forma similar. Organizacin de la Orquesta. Siempre que hay un gnt de ejecutantes, se hace necesario un director, que colocado ' lugar visible, no slo marca el ritmo de La pieza (con una batuta simplemente con las manos) y unifica la ejecucin de los msict sino que imprime su personalidad a la interpretacin. Esta es ruztpor la cual los buenos directores de orquesta alcanzan u posiiin destacada en el mundo de la msica. En la msica popul .., hay bastante liberad en |a interpretacin; no as en la msica clsi donde se trata de presentar lzpezacon la mayor fidelidad posibl
El rgano se usa ms bien en la Iglesia; fimcim con brbos c distinta longitud, AntigUamente el aire era impulsado p fiell que funcionaban a mano, pero hoy da estos fuelles sc llenm p medio de un motor elctrico. Actualmente se fabrican rgre ct
,i , '
en
La orqaesla sinfiinica, que hoy da cuenta con ms de I instrumentos de cuerda, viento y percusin y que interpr'
%*^
Primeros violines
sinfonias, conciertos, sonatas y muchas otras formas musicales. Ejemplo, la Orquesta Sinfonica Nacional de Panam La banda tambin es un codunto grande de musicos, pero a diferencia de la orquesta sinfonica, slo tiene instrumentos de viento y percusin. Generalmente se usa en paradas y en eventos al aire libre. Ejemplo, la Banda Republicana. Hay ohas agrupaciones ms pequeas:
La orquesta de cmara, que no tiene mis de 24 msicos. Interpretan msica escrita especialmente para estos conjuntos.
La orquesta de cuerda, formada por instrumentos de cuerd solamente. Poca musica se escribe
hoy da para esta clase de orquesta.
combos, pequeos conjuntos que se usan para los bailes popu rares. La orquesta tpica, vara en los distintos pases pues est forrnada por folklricos. Sirve para interpretar msic a tipica.
Conjuntos mixtos. Llamamos as a las presentaciones que incluyen orquesta y coro, tales como la pera, el oratorio y la cantata . Msica Electrnica. En los ltimos aos se han hecho experimentos enAlemania que conducen a producir y reproducir sonidos musicales en aparatos electrnicos. Los sonidos as producidos
difieren de los sonidos musicales que conocemos. Es prematuro determinar si esto pasan a ier algo ms que meros experimentos.
'tff
*l|
_.1t
+tt
gtst
lTienes a tu alcance discos donde puedas escucar dos, trfos, cuartetos? oHas oldo una orquesta de cmarai oHas aslstool-un concerto de
ra
.9 \
r'n