By Peter Aston
Covers all elements of the Grade eight thought of tune examination. provides distinct suggestion on ways that the exam questions could be approached, together with labored examples of a few normal exam questions, and a suite of routines is equipped for every form of query. Covers either pre-20th-century and 20th-century types.
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Covers all elements of the Grade eight concept of track examination. offers particular recommendation on ways that the exam questions should be approached, together with labored examples of a few ordinary exam questions, and a suite of routines is equipped for every type of query. Covers either pre-20th-century and 20th-century kinds.
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Extra info for Music Theory in Practice, Grade 8
If you need a little help locating the pulse, remember that the notes in the timeline on 1 in the first measure and 4 in the second coincide with pulses: Once a timeline is playing on the CD and you’re tapping the pulse in your feet, you’re ready to add a pattern on your instrument. If you just learn how to play the patterns in this book while tapping a pulse in your feet, you’ll still acquire a rich rhythmic vocabulary. But you can make that vocabulary a much deeper part of you with triple-weave practicing.
Unlike the symmetrical and often silent pulse, a timeline is an asymmetrical and always audible rhythm. All the musicians in a group use the timeline as a reference and play their parts in relation to it. That’s what you’ll be doing when you play the patterns in this book along with the CD. In Afro-Cuban rhythms in four, the timeline is called the clave (klah-vay) and it’s usually played on two cylindrical pieces of wood called claves: In Afro-Cuban rhythms in six and in most African rhythms, the timeline is usually played on a cowbell or other bell: Claves and bells are ideal for timelines because they produce crisp, penetrating sounds that can be heard above other instruments.
When you get to the end go right back to the beginning and start over without missing a beat. When a pattern is longer than a single row, feel free to repeat any row or any set of rows as many times as you want before moving on. We haven’t put any tempo markings on our charts. Ultimately, the tempo of a rhythm will depend on your playing situation. The important thing for now is to play each pattern at a steady tempo and not to leave a pattern until it grooves. We’ve done our best to make our charts as clear as possible.
Music Theory in Practice, Grade 8 by Peter Aston