24 - alfred music

24

Franz Joseph HaydnFrahntz Yoh‘-zef Hide‘-n

born March 31, 1732, Rohrau, Austriadied May 31, 1809, Vienna, Austria

A Composer of the Classical EraFranz Joseph Haydn was the second of twelve children. His family was quite poor. When Franz was six, his parents sent him to live with a family relative, Johann Frankh, in Hainburg, Austria. Mr. Frankh was a private music teacher and gave Franz lessons on the harpsichord, violin, and in music harmony and theory. In Hainburg, young Franz sang in a church boychoir and eventually became the chief soloist for the group.

When Franz turned seventeen and became too old for the boychoir, he made a living playing harpsichord and violin. He also began composing and completed his fi rst mass at age nineteen, his fi rst string quartet at twenty-three, and his fi rst symphony at twenty-seven.

He married his wife, Anna, in 1760. They separated a few years later but Haydn continued to support Anna for the rest of her life.

In 1761 (age twenty-nine), he became the assistant choirmaster to Prince Paul Esterhazy, an Austrian prince who was a great admirer of music. Haydn eventually became a full-time court musician and lived and worked in the Esterhazy palace for twenty-nine years, until the prince’s death in 1790. His daily routine required him to provide music for family concerts, private performances, and

worship services. The prince also had an excellent orchestra which regularly performed Haydn’s compositions.

Living in the palace, Haydn was cut off from the musical centers of Europe and, except for a few brief trips to Vienna, Austria, was not exposed to the music of other composers. He therefore developed his own style of music. He was not infl uenced by other composers with the exception of Wolfgang Amadeus Mozart, who Haydn met in 1781. When they met, Haydn was forty-nine and Mozart was twenty-fi ve. Nevertheless, the older Haydn was infl uenced by the younger Mozart.

In 1791, after the death of Prince Esterhazy, Haydn traveled to London where he was highly regarded by British royalty. Here he heard the music of George Frideric Handel and was much impressed with Handel’s oratorios. In 1795 he returned permanently to Austria and settled in Vienna where he wrote the Emperor’s Hymn, which is now the national anthem of Austria. Inspired by Handel, Haydn also wrote several successful oratorios. By his mid-60s, Haydn’s health was failing. For the last ten years of his life he wrote little, although he frequently attended concert performances of his music.

Franz Joseph Haydn was a personable man, generous and honorable. He was greatly respected by royalty throughout Europe. He wrote a large number of works and was very industrious as a composer. He was fortunate to have a patron, Prince Esterhazy, who gave him the freedom to write music for a variety of occasions. However, it was not until Haydn was over forty that his music was successful in concert halls outside the Esterhazy palace.

Famous Works:Symphony in G Major (Surprise Symphony) — for orchestraThe Creation — an oratorio for chorus and orchestraMass in Time of War — an oratorio for chorus and orchestraHis fi fteen operas (fi ve others have been lost)His fi fty-two sonatas for piano

“Melody is the main thing; harmony

is useful only to charm the ear.”

Franz Joseph Haydn

31263 One-PageComposer.indd 24 4/30/09 10:30:48 AM

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Classical Era (1750–1825)The term “classical” is used in different ways. When some people refer to “classical” music, they mean “serious” music, as opposed to popular or folk music. But when musicians use the term “classical music,” they mean music written between 1750 and 1825.

The music of this era can best be described as elegant, formal, and restrained. For the fi rst time, instrumental music was more important than vocal music. In fact, the most important new musical form of the Classical era was the symphony, an extended work in several movements (often four) for orchestra.

The symphony grew out of the sonata, a popular form of the Baroque era. A sonata is a work for solo instrument, either alone or accompanied. In a symphony, there is no solo instrument, and the orchestra becomes the “instrument” for the composer. So a symphony could be described as a sonata for orchestra.

Another Classical era form which evolved from the sonata is the concerto. A concerto is a sonata for a solo instrument, accompanied by an orchestra.

The Classical era orchestra was very similar to today’s orchestra, though smaller in size. The instruments were basically the same as those in a modern orchestra. The string instruments were identical to today’s violins, violas, cellos, and string basses. The string section was the most important part of the Classical era orchestra. Woodwind and brass instruments had also evolved and were simi-lar to today’s fl utes, oboes, clarinets, horns, trumpets, and trombones. Percussion instruments included drums, cym-bals, and timpani.

The organ was still an important instrument. But the piano replaced the harpsichord as the most popular keyboard instrument. The piano could play louder than a harpsi-chord and thus could produce sounds from very loud to very soft. Musicians call this a wide dynamic range. The piano’s wide dynamic range made it appealing to Classical era composers.

In the Baroque era, musical works had contrasting sections, such as fast-slow-fast, or loud-soft-loud. There were no changes in tempo or loudness (what musicians call the dynamic level) within a section. It was fast, or loud, the whole way through. In the Classical era, composers began to change the tempo or the dynamic level within a section. The changes could be gradual or sudden. A movement could begin slowly and gradually increase in tempo. Or a soft section might suddenly become loud.

The vocal forms of the Baroque era, such as operas, oratorios, and cantatas remained popular with Classical era composers.

Many composers of the Classical era were employed or supported by European royalty or aristocrats. This type of employment is called patronage. The aristocrat was a patron of the composer. He commissioned compositions from the composer and paid him for his musical creations. This gave the composer a continuing source of income, an outlet for his music, and the freedom to develop his craft. Composers of the Classical era could best be described as fi ne musical craftsmen.

Many composers traveled throughout Europe to perform their music and to hear the music of other composers. This resulted in a single style for music of the Classical era—a style that is elegant and formal, and which sounded the same in Rome, Italy, as it did in Vienna, Austria.

Some Composers of the Classical Era

Christoph Gluck (1714–1787)

Franz Joseph Haydn (1732–1809)

Johann Christian Bach (1735–1782)

Wolfgang Amadeus Mozart (1756–1791)

Ludwig van Beethoven (1770–1827)

Carl Maria von Weber (1786–1826)

Gioacchino Rossini (1792–1868)

Franz Schubert (1797–1828)

59

31263 One-PageComposer.indd 59 4/30/09 10:33:06 AM


Copyright © 2007 by Alfred Publishing Co., Inc.Note: the purchase of this book carries with it the right to photocopy this page.

Limited to one school only. NOT FOR RESALE.14

Name:

Class:

& 44 œ œ ˙ w w œ œ œ ˙

& 44 œ œ œ œ ˙ œ œ ˙ ˙ ˙ w? 42 œ œ Œ œ œ œ œ œ œ œ Œ

& 44 Jœ œ Jœ ˙ Œ œ .œ jœ .˙ Œ

? 44 œ Œ ˙ ∑ ˙ ‰ œ œ œ .˙ Œ

& œ Œ œ Œ Œ œ œ .œ Jœ ˙ Ó ˙ Ó

& 43 Œ Œ œ .œ Jœ œ ‰ jœ œ œ œ Œ œ Œ

? 44 ˙ .œ ‰ ˙ Ó Œ œ .œ ‰ .˙ Œ

Circle all the whole notes in the example to the right.

1.

Circle all the half notes in the example to the right.

2.

Circle all the eighth notes in the example to the right.

4.

Circle all the whole rests in the example to the right.

5.

Circle all the half rests in the example to the right.

6.

Circle all the quarter rests in the example to the right.

7.

Circle all the eighth rests in the example to the right.

8.

Circle all the quarter notes in the example to the right.

3.

Identifying Notes and Rests9Quiz

THE BASICS

Copyright © 2007 by Alfred Publishing Co., Inc.Note: the purchase of this book carries with it the right to photocopy this page.

Limited to one school only. NOT FOR RESALE. 15

Name:

Class:

DIRECTIONS: In each of the pairs of examples below, one example is correct and one is incorrect. Circle the letter of each example that is correct.

1. A. h

+ h

= w or B. w + w = h

2. A. q

+ q

+ q

= h

. or B. q

+ q

. = h

3. A. e

+ e

+ e

= w or B. e

+ e

+ e

+ e

= h

4. A. h

+ h

= q

or B. q

+ q

= h

5. A. w + h

= h

. or B. h

. + q

= w

6. A. h

+ q

= h

. or B. h

+ q

+ q

= h

.

7. A. e

+ e

= q

or B. q

+ q

= e

8. A. h

+ h

= h

. or B. q

+ q

+ q

= h

.

9. A. h

. + q

= w or B. e

+ h

+ q

= w

10. A. q

+ h

+ h

= h

. or B. q

+ h

+ q

+ = w

11. A. e

+ q

= q

. or B. w + q

= h

.

12. A. e

+ e

+ e

+ e

= w or B. q

+ h

+ q

= w

THE BASICS

10Quiz Notes and Rests Math

20

Lesson Procedure1. Explain to the students that you will be telling them a camp story, and they will respond with movement.

2. Read the story aloud, demonstrating each movement.

3. Explain that the musical terms for gradually getting louder and softer (like the man did when the alligatorgradually opened and closed his jaws) are crescendo and decrescendo. Draw the symbols on the board andlabel them.

4. Sing the song “Alligator” to the students. (It is sung to the tune of “Frère Jacques.”) Start off softly anddemonstrate a crescendo for the first four measures, pantomiming with your arms the alligator’s jaws openingslowly, and then decrescendo for the last four measures, pantomiming the alligator’s jaws closing slowly.

44&bAl

p

li- ga- tor,- get ting- loud er.- Cre scen- do!- Cre scen- do!

f

-

œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙

&bNow

f

he’s get ting- soft er,- now he’s get ting- soft er.- De cre- scen- do.- De cre- scen

p

- do.-

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

5. Pass out the Alligator Dynamics Worksheets and pencils. Allow time for students to complete the worksheets.

6. As a final review, sing “Alligator” as a class with crescendo and decrescendo arm movements.

Core Music Standard: MU:Pr4.3.3a

LEARNING TARGET“I can demonstrate how a crescendo and a decrescendo are used.”

RECOMMENDED GRADEThird

TIME NEEDEDApproximately 20 minutes

RESOURCES NEEDED• Dry erase board and markers• Alligator Dynamics Worksheet—

may be found on page 23 andon the CD

• Pencils

The Man Who Saw an Alligator(Camp Story)

Lesson 6





21Lesson 6

Camp Story Text

The Man Who Saw an AlligatorOnce upon a time, a man woke up.

(Yawn and stretch.)

He kissed his wife goodbye.

(Loudly kiss the back of your hand.)

He opened the gate.

(Use exaggerated arm movement for opening a gate, and make a creaking hinge sound.)

He walked on the path.

(Alternately pat your knees.)

He walked through the tall grass.

(Rub your hands together to make grass sounds.)

He walked across the wooden bridge.

(Thump your chest to make footstep sounds.)

He walked to the top of the hill.

(Pat your knees and gradually slow down.)

He looked over his shoulder and could see his wife in the distance, standing at the window of their house.

(Turn, silently wave and smile.)

He walked down the other side of the hill.

(Pat your knees and gradually speed up.)

He swam across the lake.

(Say, “Splash, Slash, Splash, Splash,” while pantomiming swim movements.)

The man stopped when he saw an ALLIGATOR!

(Put your hands on top of your head in distress.)


22 Lesson 6

As the alligator widened his mouth, the man yelled louder!

(Slowly open and close your arms, like an alligator’s jaws. Repeat this several times. Demonstrate, if necessary,

how the man yells more loudly as the jaws open, like a crescendo, and how he yells more softly as the jaws

close, like a decrescendo.)

He hurriedly swam back across the lake,

(Say, “Splash, Slash, Splash, Splash,” while pantomiming quick swim movements.)

Ran up the hill,

(Pat your knees quickly.)

Ran down the hill,

(Pat your knees quickly.)

Ran across the wooden bridge,

(Thump your chest quickly to make running sounds.)

Ran through the tall grass,

(Rub your hands together quickly to make grass sounds.)

And quickly opened and shut the gate.

(Use exaggerated arm movement for quickly opening a gate, and make a creaking hinge sound.)

He kissed his wife hello.

(Loudly kiss the back of your hand.)

Then he jumped into bed and pulled the blankets over his head.

(Pantomime pulling blankets up quickly.)

The end!




44&bAl

p

li- ga- tor,- get ting- loud er.- Cre scen- do!- Cre scen- do!

f

-

&bNow

f

he’s get ting- soft er,- now he’s get ting- soft er.- De cre- scen- do.- De cre- scen

p

- do.-

œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

23Lesson 6

Alligator Dynamics Worksheet

Add a crescendo above the first four measures (to tell performers to gradually get louder) and a decrescendo above the last four measures (to tell performers to gradually get softer). Draw these symbols between the piano ( p ) and forte ( f ) signs shown in “Alligator.”

Student Name:

Alligator

Why is the crescendo sign wider (or farther apart) on the right side and the decrescendo sign wider (or farther apart)

on the left side?


Before you sit, adjust the bench so that it is:• centered in the middle of the keyboard.• facing the piano squarely (not crooked).

When you sit, adjust the bench so that you:• sit on the front half.• place your knees slightly under the keyboard.• place your feet flat on the floor with right foot slightly forward.

As you prepare to play, adjust your posture so that you:• sit tall with relaxed shoulders.• lean slightly forward.• feel the arms hanging loosely from the shoulders.• see the elbows level with or slightly higher than the keys.

How toSit at theKeyboard

Objectives Assignments Week of __________

Write your assignments for the week in the space below.

Keyboard BasicsUnit 1

Upon completion of this unitthe student will be able to:

1. Name, find and play allkeys on the keyboard.

2. Improvise black-keymelodies as the teacherplays an accompaniment.

3. Apply basic musicalconcepts of rhythm,notation, terminology andsymbols to performance atthe keyboard.

4. Read and perform melodieswritten on the grand staff.

5. Identify and play wholesteps, half steps and thechromatic scale on thekeyboard.

8 Unit 1 ■ Keyboard Basics The receipt of this page via the Music In Our Schools Month Offer (March 2017) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit www.alfred.com/permissions.

Keyboard Basics ■ Unit 1 9

The fingers of the left hand (LH) and the right hand (RH) arenumbered as shown. The thumb is the first finger of each hand.

Curve your fingers when youplay, as though you have abubble in your hand.

Curved fingers bring the thumbinto the proper playing positionand provide an arch that allowsthe thumb to pass under thefingers or the fingers to crossover the thumb. Play on theoutside of the thumb and on thefingertip pads of the fingers.

Finger Numbers

LH RH

Hand Position

5 5

4 43 3

2 2

1 1

Quarter note

Half note

Dotted half note

Whole note

= 1 count

= 2 counts

= 3 counts

= 4 counts

BasicNote and RestValues

�� Quarter rest

Half rest

Whole rest

= 1 count (rest for the value of � )

= 2 counts (rest for the value of � )= 4 counts (rest for the value of �

or any whole measure)

Rests are signs for silence.

��The receipt of this page via the Music In Our Schools Month Offer (March 2017) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit www.alfred.com/permissions.

Tap the following rhythms with the indicated hands andfinger numbers.

10 Unit 1 ■ Keyboard Basics

1-1

œ ˙

Œ

MEASURE MEASURE

BARLINE

BARLINE

BARLINE

œ œœ œ ˙ œ w

MEASURE

BARLINE

.

MEASURE

DOUBLE BARused at the end

1Count:or: etc.

1 1 1 1 rest 1 2- 1 12- 3- 1 2- 3- 4-1 2 3 4 1 2 3 4

1

œ

1

œ

2

œ

2

œ

3

œ

4

œ

5

˙

5

œ

5

œ

4

œ

4

œ

3

œ

2

œ

1

˙

1. RH

Track number within the diskAudio or MIDI file disk numberHands separately:

Hands together:

1-1

5

œ

4

œ

3

œ

2

œ

1

˙

1

˙

1

œ

2

œ

3

œ

4

œ

5

˙

5

˙

2. LH

1-2

œ

1Œ

œ

3Œ

œ

1

œ

3

œ

5Œ

˙

5

˙

4

œ

3

œ

2

œ

1Œ3. RH

1-3

˙

1

Ó

œ

1

œ

2

Ó

œ

1

œ

2

œ

3

œ

4

˙

5

Ó4. LH

1-4

1

˙ .

2

œ

1

˙ .

2

œ

3

˙ .

4

œ

3

˙ .

4

œ

5

œ

4

œ

3

œ

2

œ

5

œ

4

œ

3

œ

2

œ

1

w

1

w

LH

5. RH

1-5

˙˙

3 4

˙ ˙

5

œ

4

œ

3

˙

œ œ ˙

˙

4

˙

˙ ˙

3

œ

2

œ

1

˙

œ œ ˙

LH

6. RH

3

3 4 5 4 3 3 4 3 2 1

1-6

Tap the following rhythm.Tap once for each note,counting aloud. Noticehow the bar lines dividethe music into measuresof equal duration.

Rhythm Reading



The keyboard has white keys and black keys. The black keys are ingroups of twos and threes. On the keyboard, down is to the left, andup is to the right. As you move left, the tones sound lower. As youmove right, the tones sound higher.

1. Using LH 2 3, begin at the middle and play all the2-black-key groups going down the keyboard (bothkeys at once).

2. Using RH 2 3, begin at the middle and play all the2-black-key groups going up the keyboard (bothkeys at once).

3. With RH 2 3, begin at the middle and play all the 2-black-keygroups going up the keyboard, using the indicated rhythm andfinger numbers (one key at a time).

4. With LH 2 3, begin at the middle and play all the 2-black-keygroups going down the keyboard, using the indicated rhythm andfinger numbers (one key at a time).

The Keyboard

Two-Black-KeyGroups

MIDDLE

DOWN (Lower) UP (Higher)

2 BLACKS 3 BLACKS

LOW SOUNDS HIGH SOUNDS

2 BLACKS 3 BLACKS 2 BLACKS 3 BLACKS

3 2

LH

2 3

RH

œœ

œŒ

Œ

Œ

23

RH

2œ

œœ

23

2œ

œœ

23

2œ

œ˙

23

2

(move)

(move)

(move)

œœœ

œœœ

œœœ

œ˙œ

LH

23

23

23

23

2

2

2

2

Œ

(move)Œ

(move)Œ

(move)

1-7

1-8


12 Unit 1 ■ Keyboard Basics

1. Using LH 2 3 4, begin at the middle and play all the3-black-key groups going down the keyboard (all 3keys at once).

2. Using RH 2 3 4, begin at the middle and play allthe 3-black-key groups going up the keyboard (all 3keys at once).

3. With RH 2 3 4, begin at the middle and play all the 3-black-keygroups going up the keyboard, using the indicated rhythm andfinger numbers (one key at a time).

4. With LH 2 3 4, begin at the middle and play all the 3-black-keygroups going down the keyboard, using the indicated rhythm andfinger numbers (one key at a time).

Three-Black-KeyGroups

4 3 2

LH

2 3 4

RH

œ

2

RHœ

3

œ

4

œ˙ Ó

3œ

2

œ

3

œ

4

œ

3œ

2

œ

3

œ

4

œ

3œ

2

œ

3

œ

4

œ

3

2 (move)˙ Ó

2 (move)˙ Ó

2 (move)w

2

œ

2

LHœ

3

œ

4

œ

3

œ

2

œ

3

œ

4

œ

3

œ

2

œ

3

œ

4

œ

3

œ

2

œ

3

œ

4

œ

3

˙ Ó

2 (move)˙ Ó

2 (move)˙ Ó

2w

2

(move)

1-9

1-10


&

?

b

b

b

b

b

b

b

b

b

b

b

b

c

c

Introduction

Fœ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

with pedal

œ.

J

œ œ

œ

œ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ .J

œ œ

œ

œ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ.

J

œ œ

œ

œ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ .J

œ œ

œ

Student improvisationbegins:

œ

œ

˙ œ œ œ œ œ œ

œ...

j

œ

œœ

œ

œœ

œ

œœ

œ.

J

œ œ

œ

œ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ .J

œ œ

œ

&

?

b

b

b

b

b

b

b

b

b

b

b

b

7

œ

œœ

.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ.

J

œ œ

œ

œ

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.

.

.

j

œ

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œ

œœ

œ

œœ

œ .J

œ œ

œ

œ

œœ

.

.

.

j

œ

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œ

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œ

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J

œ œ

œ

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.

.

.

j

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œ œ

œ

œ

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.

.

.

j

œ

œœ

œ

œœ

œ

œœ

œ.

J

œ œ

œ

w

ww

˙

˙

Lively ( q = 132)

MIDDLE

RH

3 42

LH

3 2

∑ww œ œœ œ˙ œ œœ œ

Œ

œ

13

3 2

5

51


Improvise an 8-measure melody using the given black-key positionas the teacher plays each accompaniment. Listen to the 4-measureintroduction to establish the tempo, mood and style before beginningthe melody. You can use the suggested rhythm for your improvisa-tion or create your own rhythm to complement the accompaniment.

1. Begin and end your melodyon the indicated key ( ):

TEACHER ACCOMPANIMENT

&

?

b

b

b

b

b

b

b

b

b

b

b

b

4

3

4

3

Introduction

œ

œ

œ

.

.

.

j

œœ

œ

with pedal

˙.

œ

œ

œ

.

.

.

j

œ

œœ

˙

œ

œ

œ

œ

.

.

.

j

œœ

œ

˙.

œ

œ

œ

.

.

.

j

œ

œœ

˙

œ

Student improvisationbegins:

œ

œ

œ

.

.

.

j

œœ

œ

˙.

œ

œ

œ

.

.

.

j

œ

œœ

˙

œ

&

?

b

b

b

b

b

b

b

b

b

b

b

b

œ

œ

œ

.

.

.

j

œœ

œ

˙.

œ

œ

œ

.

.

.

j

œ

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˙

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œ

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œ

.

.

.

j

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œ

˙.

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œ

œ

.

.

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j

œ

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˙

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œ

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œ

.

.

.

j

œ

œœ

œ

rit.

œ

œ

˙

˙

˙

.

.

.

˙.

Andante ( q = 104)

7

MIDDLE

RH

3 42

LH

3 2

F

œ œœ˙ œ˙ . ˙ . ˙ .˙ œ

œ œœ˙ œ3 3

13

3

3

5 1 1

1

24

124

2. Begin and end your melodyon the indicated key ( ):

1-11

1-12

TEACHER ACCOMPANIMENT

Black-KeyImprovisation


Partial Lesson, Unit 4 C Instruments


Thanks to:Bruce Goldes, and Deanna Hudgins

ForewordAlfred’s Essentials of Music Theory, in books andsoftware, has quickly become one of the most widelyused theory courses. In order for students to learn newconcepts thoroughly, however, it is necessary to repeatand reinforce those concepts in unique ways. Thereproducible pages of Activities and Tests included inTeacher’s Activity Kit, Complete will help every studentbecome more familiar with concepts introduced inAlfred’s Essentials of Music Theory course.

Though correlated with Alfred’s Essentials of MusicTheory, the materials in this kit may also be used toadvantage with any theory text.

Unique features of Teacher’s Activity Kit, Complete:

ActivitiesThere are five Activities in each of the six Units, whichcorrelate specifically to the Units in Books 1, 2, and 3 ofAlfred’s Essentials of Music Theory. The wide variety ofActivities includes Scale Writing, Interval Naming, TriadIdentification, and others for a total of 30 Activities in all.

TestsThere is one Test per Unit that covers all the theoryconcepts introduced in that Unit.

ScorekeepingEach Activity and Test page indicates how points are to bescored so that the page may be graded. The point systemto be used is determined by the type of exercises on thepage.

A box divided into halves will appear to the right of eachexercise.

• If a box has only one number in the bottom half, itindicates a flat score for that exercise.

• If a box has two numbers in the bottom half, the firstnumber indicates the number of points to score foreach individual correct answer within the exercise. Thesecond number indicates the total number of points

that can be earned for correctly answering all the items inthat exercise.

• The top half of the box is for you to record the numberof points actually earned for the exercise.

Every page has a three-part box at the bottom where thescores and total grade for that page are recorded. Thetotal for each page is always 100.

Record KeepingAt the back of the Kit (page 144) is a reproducible GradeForm page with a grid for listing and keeping track of thestudent’s scores and grades, organized by Unit.

Answer KeyAnswers for every Activity and Test page are included ina reduced size to assist in the grading process.

The Teacher’s Activity Kit is the perfect “teacher saver”for days when a substitute is required— activities can beoffered easily and as needed.

Page NumberingEach page in Teacher’s Activity Kit, Complete is labeled atthe top with a Unit number, Activity number, and acorrelating page reference.

• The Unit number tells which Unit of Alfred’s Essentials ofMusic Theory contains the topic the Activity reinforces.

• The Activity number indicates the sequence of Activitieswithin each Unit.

• The specific page in Alfred’s Essentials of Music Theory,Book 1, 2, or 3 with which the Activity may be assignedis given at the upper right-hand corner of each sheet.When more than one Activity correlates to the samepage in the Essentials of Music Theory text book, theActivities may be assigned in any order.

• There is also a space at the top of each page for thestudent to write his or her name and class.

Alfred Publishing Co., Inc.16320 Roscoe Blvd., Suite 100

P.O. Box 10003Van Nuys, CA 91410-0003

alfred.com

Copyright © MMVI by Alfred Publishing Co., Inc.All rights reserved.Printed in USA.ISBN-10: 0-7390-4433-8ISBN-13: 978-0-7390-4433-9

Alfred’s

Andrew Surmani • Karen Farnum Surmani • Morton Manus

Essentials of MUSIC THEORYTEACHER’S ACTIVITY KIT, COMPLETE

90 Reproducible Activities, Plus 18 Tests

Dynamic SignsWrite the Italian word and musical sign for each of the following English definitions.

Very loud

Moderately soft

Soft

Moderately loud

Very soft

Loud

Arrange the dynamic signs above in order from loudest to softest.

_______ _______ _______ _______ _______ _______

Write the Italian word and musical sign for each of the following English definitions.

Gradually louder

Gradually softer

What nationality of composers was among the first to use dynamic signs in their manuscripts?

__________________________

6

Italian Sign English

3

2


1

Use after completing page 28.

27

ACTIVITY 1 Name/Class__________________________________Unit 5

Copyright © MMVI by Alfred Publishing Co., Inc.

Name two things that might have thedynamic marking of piano:(Example: leaves moving in a breeze)

a.

b.

Name two things that might have thedynamic marking of forte:(Example: a roaring lion)

a.

b.

54

5–30

5–30

5–10

5–10

5–10

10

100



Tempo Marks on SafariOn each line, write the Italian translation of the tempo mark indicated below the line. Use the following tempo marks:

Accelerando, Adagio, Allegro, Andante, Largo, Moderato, Ritardando, Vivace

In deepest Africa a jeep moves at a_________________________pace. Through the trees, a giraffe moves moderate

at _______________________. A bird flies past the adventurers________________________. Turning, they walking speed quickly and cheerfully

spot an elephant herd lumbering___________________________ toward them. Later, the passengers slowly

of the jeep are startled when a lion runs past, _______________________. A hippo and her lively and fast

baby move ___________________across the road and the jeep ______________________________to a stop. very slowly gradually slows

As the sun sets over the plain, the jeep goes _____________________________ , headed back to camp.gradually faster

Number the pictures below from 1 (slowest) to 6 (fastest) and write the appropriate tempomarking for each on the line.

Slower Faster

2

1


28



8–64

6–36

100

No. _______

No. _______

No. _______

No. _______

No. _______

No. _______

Matching Draw lines matching the terms on the left with their definitions on the right.

Tempo Marks and Dynamic Signs

Accelerando Gradually softer

Adagio Moving along (walking speed)

Allegro Lively and fast

Andante Gradually slower

Crescendo Gradually faster

Diminuendo Moderately

Largo Gradually louder

Moderato Very slow

Ritardando Quickly, cheerfully

Vivace Slow

MatchingOther Musical Terms

Accent Hold the note for its full value

Coda Rate of speed—how fast or slow the music is to be played

Da Capo An added ending

Dal Segno Hold the note longer than its normal value (approximately twice the normal duration)

Fermata Play the note short and detached

Fine A sudden, strong accent

Sforzando The end

Staccato Repeat from the beginning

Tempo Repeat from the sign

Tenuto Play the note louder, with a special emphasis

2

1


29



5–50

5–50

100



30


I Z J L O Z Z E M H A S Y X

O F X T E N U T O C L F Y F

T M X C N P G N C O N O R A

A D I M I N U E N D O R I C

C C H S F Q L C S A G Z L J

C A H U S E I C I L R A R A

A O T Q R I T A R D A N D O

T C I A E A T E Q K L D Q I

S F N G M B T R W D U O V R

P D O T A R E D O M M P J I

O A T G O D E P N F K R U I

X Y I F B G A F A Y J K Q U

F A C G E C A V I V C K Q T

W I N X A P C J P I M H C L

G H B D N O Q K X L D Q V F

Word Search

AccelerandoAccentAdagioCodaDa CapoDal SegnoDiminuendo

FermataFineForteFortissimoLargoMezzoModerato

PianoRitardandoSforzandoStaccatoTenuto Vivace

5–100

Find the words from the list below and circle them in the puzzle. Words may appear forward, backward, up, down or diagonally, and may overlap.





31


5. The Italian word for thesign is ____ .

6. Dal Segno (D.S.) meansrepeat from the ____ .

7. The Italian words forP are ____ ____ .10. Moderato means ____ .11. The Italian word for f

is ____ .12. The English translation

of Andante is ____ ____.

15. The symbol below thenote to the right is h�an ____ .

18. The Italian word for ƒis ____ .

19. Mezzo piano meansmoderately ____ .


23. Da Capo (D.C.) meansrepeat from the ____ .

24. Rondo Alla Turca wascomposed by WolfgangAmadeus ____ .

1. issimo means ____ .2. The Italian word for

gradually faster is ____ .3. The Italian word for p is

____ .4. Fine means the ____ .8. The sign that means to

hold a note longer thanits normal value is a ___ .

9. The sign that means tohold a note for its fullvalue is a ____ .

13. The English translationof Largo is ____ ____ .

14. The English translationof Vivace is lively and____ .

16. The Italian word forgradually slower is ____ .

17. Staccato means to playthe note short and ____ .

19. The English translationof Adagio is ____ .

20. A Coda (fi) is an added____ .

21. The Italianword thattells howfast or slowto play themusic is ____ .

DOWNACROSS

Music Crossword Puzzle

4–100

1 2 3 4

5 6

7

8 9

10 11

12 13

14 15

16

17 18

19 20 21

22

23

24



TEST Name/Class__________________________________Unit 5

32

Write the dynamic sign for each of the following Italian words.

Write the English definitions of the following tempo marks.

a. Moderato _____________________ b. Allegro _____________________

c. Accelerando _____________________ d. Largo _____________________

e. Vivace _____________________ f. Ritardando _____________________

g. Adagio _____________________ h. Andante _____________________

Draw a quarter note with the stem down utilizing the following articulations.

a. Staccato: b. Tenuto: c. Accent: d. Fermata:

Write the symbol for sforzando. _____________

Write out the following musical example as it would actually be played without using D.S. al Fine or Fine.

Write out the following musical example as it would actually be played without using D.S. al Coda or fi Coda.

8

424

42 ˙ ˙ %œ œ œ4

œ Œfiœ œ œ œ œ œ ˙

8

D.S. al Coda

œ œ fiCoda

œ œ ˙6

434 6

43 ˙ œ .˙ %œ œ œ4

œ œ œ Fineœ œ œ Œ6

œ œD.S. al Fine

Œ5

4

3

2

a. piano__________________

d. forte __________________

g. mezzo forte____________

b. pianissimo _____________

e. fortissimo ______________

h. crescendo______________

c. decrescendo____________

f. mezzo piano ___________

1

2–16

2–16

5–20

8

2–16

2–24

100


45

28

Adagio

Andante

Allegro

Largo Vivace

Moderato

Moderato

Andante Allegro

Adagio

Vivace

Largo ritardando

accelerando

Tempo Marks on SafariOn each line, write the Italian translation of the tempo mark indicated below the line. Use the following tempo marks:

Accelerando, Adagio, Allegro, Andante, Largo, Moderato, Ritardando, Vivace

In deepest Africa a jeep moves at a_________________________pace. Through the trees, a giraffe moves moderate

at _______________________. A bird flies past the adventurers________________________. Turning, they walking speed quickly and cheerfully

spot an elephant herd lumbering___________________________ toward them. Later, the passengers slowly

of the jeep are startled when a lion runs past, _______________________. A hippo and her lively and fast

baby move ___________________across the road and the jeep ______________________________to a stop. very slowly gradually slows

As the sun sets over the plain, the jeep goes _____________________________ , headed back to camp.gradually faster

Number the pictures below from 1 (slowest) to 6 (fastest) and write the appropriate tempomarking for each on the line.

Slower Faster

2

1

Use after completing page 29.ACTIVITY 2 Name/Class__________________________________Unit 5

8–64

6–36

100

No. _______

No. _______

No. _______

No. _______

No. _______

No. _______

1 6

43

2 5


30


5–100

I Z J L O Z Z E M H A S Y X

O F X T E N U T O C L F Y F

T M X C N P G N C O N O R A

A D I M I N U E N D O R I C

C C H S F Q L C S A G Z L J

C A H U S E I C I L R A R A

A O T Q R I T A R D A N D O

T C I A E A T E Q K L D Q I

S F N G M B T R W D U O V R

P D O T A R E D O M M P J I

O A T G O D E P N F K R U I

X Y I F B G A F A Y J K Q U

F A C G E C A V I V C K Q T

W I N X A P C J P I M H C L

G H B D N O Q K X L D Q V F

Word Search

AccelerandoAccentAdagioCodaDa CapoDal SegnoDiminuendo

FermataFineForteFortissimoLargoMezzoModerato

PianoRitardandoSforzandoStaccatoTenuto Vivace

Find the words from the list below and circle them in the puzzle. Words may appear forward, backward, up, down or diagonally, and may overlap.

Accelerando softer

Adagio Moving along (walking speed)

Allegro Lively and fast

Andante Gradually slower

Crescendo Gradually faster

Diminuendo Moderately

Largo Gradually louder

Moderato Very slow

Ritardando Quickly, cheerfully

Vivace Slow

29

Matching Draw lines matching the terms on the left with their definitions on the right.

Tempo Marks and Dynamic Signs

Gradually

MatchingOther Musical Terms

Hold

2

1

Use after completing page 31.ACTIVITY 3 Name/Class__________________________________Unit 5

5–50

5–50

100

Accent the note for its full value

Coda Rate of speed—how fast or slow the music is to be played

Da Capo An added ending

Dal Segno Hold the note longer than its normal value (approximately twice the normal duration)

Fermata Play the note short and detached

Fine A sudden, strong accent

Sforzando The end

Staccato Repeat from the beginning

Tempo Repeat from the sign

Tenuto Play the note louder, with a special emphasis


27


Dynamic Signs

Very loud

Moderately soft

Soft

Moderately loud

Very soft

Loud

Arrange the dynamic signs above in order from loudest to softest.

_______ _______ _______ _______ _______ _______

Gradually louder

Gradually softer

What nationality of composers was among the first to use dynamic signs in their manuscripts?

__________________________

6


3

2


1

Name two things that might have thedynamic marking of piano:(Example: leaves moving in a breeze)

a.

b.

Name two things that might have thedynamic marking of forte:(Example: a roaring lion)

a.

b.

54

5–30

5–30

5–10

5–10

5–10

10

100

fortissimo ƒ

ƒ

mezzo pianopiano p

p

mezzo fortepianissimoforte

crescendo

drops of watera whisper

Italian

trumpeting elephantairplane

diminuendo(or decrescendo)

ff

P

P

F

F

π

π

*

*Correct student answers may vary.



46

32

˙8

œ œ œ œ œ œ Œ œ œ ˙42 ˙ ˙ œ œ œ

4

œ Œ œ œ œ œ œ œ42 ˙ ˙ %œ œ œ

4

œ Œfiœ œ œ œ œ œ ˙

8

D.S. al Coda

œ œ fiCoda

œ œ ˙

43 ˙ œ .˙ œ œ œ4

œ œ œ œ œ œ Œ6

œ œ Œ œ œ œ œ œ œ œ43 ˙ œ .˙ %œ œ œ

4

œ œ œ Fineœ œ œ Œ6

œ œD.S. al FineŒ

pfF

ß

πƒ Pmoderately

gradually fasterlively & fastslow

quickly, cheerfullyvery slowgradually slowermoving along

Q. Q� Q� QU

TEST Name/Class__________________________________Unit 5

Write the dynamic sign for each of the following Italian words.

Write the English definitions of the following tempo marks.

a. Moderato _____________________ b. Allegro _____________________

c. Accelerando _____________________ d. Largo _____________________

e. Vivace _____________________ f. Ritardando _____________________

g. Adagio _____________________ h. Andante _____________________

Draw a quarter note with the stem down utilizing the following articulations.

a. Staccato: b. Tenuto: c. Accent: d. Fermata:

Write the symbol for sforzando. _____________

Write out the following musical example as it would actually be played without using D.S. al Fine or Fine.

Write out the following musical example as it would actually be played without using D.S. al Coda or fi Coda.

6

5

4

3

2

a. piano__________________

d. forte __________________

g. mezzo forte____________

b. pianissimo _____________

e. fortissimo ______________

h. crescendo______________

c. decrescendo____________

f. mezzo piano ___________

1

2–16

2–16

5–20

8

2–16

2–24

100



31

Music Crossword Puzzle

4–100

1 2 3 4

5 6

7

8 9

10 11

12 13

14 15

16

17 18

19 20 21

22

23

24

V A P ED E C R E S C E N D O S I G N

R C A DY M E Z Z O P I A N O

F L O TE M O D E R A T E L Y F O R T ER R NM O V I N G A L O N G V UA N F A C C E N TT D R A R OA D F O R T I S S I M O Y

E T T SS O F T E A T LL A N C R E S C E N D OO C D D M WW H I A P

B E G I N N I N G OD G D

M O Z A R T



6. Dal Segno (D.S.) meansrepeat from the ____ .

7. The Italian words forP are ____ ____ .10. Moderato means ____ .11. The Italian word for f is

____ .12. The English translation

of Andante is ____ ____.

15. The symbol below thenote to the right is h�an ____ .

18. The Italian word for ƒis ____ .

19. Mezzo piano meansmoderately ____ .


23. Da Capo (D.C.) meansrepeat from the ____ .

24. Rondo Alla Turca wascomposed by WolfgangAmadeus ____ .

1. issimo means ____ .2. The Italian word for

gradually faster is ____ .3. The Italian word for p is

____ .4. Fine means the ____ .8. The sign that means to

hold a note longer thanits normal value is a ___ .

9. The sign that means tohold a note for its fullvalue is a ____ .

13. The English translationof Largo is ____ ____ .

14. The English translationof Vivace is lively and____ .

16. The Italian word forgradually slower is ____ .

17. Staccato means to playthe note short and ____ .

19. The English translationof Adagio is ____ .

20. A Coda (fi) is an added____ .

21. The Italianword that tells how fast or slow to play themusic is ____ .

DOWNACROSS


24 - alfred music

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