... of topic vocabulary ~ ~ 100 terms of formal music school ... for slang-in' on down the road ~ 'the magic of the ancient rote learning builds the knowledge base within for a lifetime of discovery ...' |
In a nutshell. Essential vocabulary for the evolving theorist. The repetitive nature of the presentation of ideas is a measure of learning in itself. For as we now see once unfamiliar theory and music vocabulary terms and know their meaning, we know our learning is beginning to stick. Termed rote learning, knowing the 100 + musical terms and ideas on these measures adds up to create a working vocabulary for the evolving artist, both in academia and on the bandstand. |
'Start theory' review vocabulary. |
loops of pitches |
all our loops of pitches have their closure |
aural perfection |
natural beauty of sound is the basis of our theory |
the half step |
one fret on guitar, 1/2 step between B / C and E / F |
pull |
a way to measure of swing in Americana time |
the gallop |
rhythm figure that brings the swing |
chickadeeboom |
bass rhythm figure that brings the swing |
the radio |
an unlimited source of 2 and 4 |
music by ear |
an easy way to learn music |
the top |
the beginning of any cycle in music |
by the numbers |
swapping pitch letter names for numbers |
eggs in a dozen |
12 / 12 pitches is all we gots :) |
Matching quiz for start theory. |
Any of our theory studies includes ____ of ______ . |
loops of pitches |
The basis of music theory in Western Music is _______ _______. |
aural perfection of sound |
The ____ _____ is one fret on our guitars. |
the half step |
We measure swing in how hard the __________ is between beats. |
pull of gravity |
Horses love to _______ . |
the gallop |
Fun words for a swing rhythm is _ _ _ . |
chickadeeboom |
The _______ changed the world as we know it. |
the radio |
Americana music is often played _____ __ _____. |
|
The _______ is the beginning point in any of our loops. |
the top |
Swapping pitch letters for numbers we call ___ the _____ . |
by the numbers |
The number of pitches we have is equal to the ___ of ___ in a _____ . |
eggs in a dozen |
'Silent Architecture' review vocabulary. |
equal
tempered tuning |
divides
the octave into 12 equal pitches |
chromatic
scale |
consecutive
half step sequence of our 12 pitches |
fundamental |
the
actual pitch we hear created by a full length of string or column of air |
overtone |
a
pitch created from the fundamental |
interval |
the
theory measurable distance between pitches labeled by numbers 1, 2, 3, 4 etc., and the #'s and b's |
octave
interval |
the first bowl for all pitches, a
perfect doubling of the cycles per second of a pitch, contains the 12 half steps of the chromatic scale |
perfect
fifth |
created
by dividing our pitch or string length into three equal parts |
circle
of fifth's |
a
representation of our 12 pitches that resembles our hour clock, whereby the pitches are
arranged clockwise by the interval of a perfect fifth |
half
step |
smallest
theoretical interval of equal temper tuning, moving one fret up or down on the guitar is a half step |
combines two half steps, moving two frets on fretted instruments is a whole step |
|
Pythagoras |
early
Greek philosopher credited with original ideas of acoustics and how our music theory
system could be organized |
Matching quiz for silent architecture. |
The
"silent architecture" of our music today is based on a system of theory that
contains |
12
distinct pitches. |
We can
trace our origins of Western Music back to the _______ _______ |
ancient
Greeks |
We
credit _________ with the organization of our 12 musical pitches. |
Pythagoras |
The
full length of string produces the __________ pitch. |
fundamental |
Pitches
created from within the fundamental are called _______ . |
overtones |
Dividing
a full string length perfectly in half creates the ______ _______ and it's mathematical
ratio is ___ : ___. |
octave
interval / 2 : 1 |
Dividing
a full string length three equal parts creates the interval of the _______ _____ and it's
vibrational ratio is ___ : ___. |
perfect
5th / 3 : 2 |
Pythagoras
is credited with creating the _____ __ _____. |
cycle
of 5th's |
The
cycle of fifths contains our __ _______. |
12
pitches |
The
_________ _____ arranges our 12 pitches by consecutive half steps into a perfectly closed
loop of pitches. |
chromatic
scale |
'Loops of pitches' vocabulary. |
tuning pitch A |
vibrates at 440
cycles per second |
n'est ce pas ? |
French language
quip meaning "isn't that so" |
perfect closure |
describes how a
sequence of elements perfectly returns to it's starting point |
"a
cappella" |
Italian term
meaning "without accompaniment" |
leading tone |
a pitch a half
step below the final pitch |
penultimate |
the second to last
element in a series of elements |
88 |
standard number of
keys on a piano |
seven full octaves |
number of octaves
on a piano keyboard |
2 / 3 sequence |
number pattern of
the black keys of a piano |
chromatic
enhancement |
adding half steps
into musical patterns |
Matching quiz for loops of pitches. |
always lands on its feet | a cat |
cycles per second | measurement of vibrations of a pitch |
perfect doubling of cycles per second | octaves |
equal temper tuning | divide octave into 12 tempered pitches |
half step interval | smallest interval in equal temper |
chromatic scale | 12 consecutive half steps |
without instrumental accompaniment | a cappella |
88 keys | number of keys on standard piano |
7 complete octaves | pitch range of the piano |
natural sequence of the black keys | 2 / 3 / 2 / 3 etc. |
'Groups of pitches' review vocabulary. |
pentatonic scale | so named by virtue of it's five ( penta ) pitches. |
interval formula | the set sequence of intervals we use to create a scale or chord |
major scale | most commonly used group of pitches used by composers to create the music we love. |
musical colors | the different sounds of the various scales and chords |
muse | our own inner creative energy |
non-pentatonic pitch | a pitch not normally found in a particular pentatonic scale |
key signature | accidentals placed by the clef to determine pitches |
group of pitches | a way to describe a select set of pitches |
5 + 2 = 7 | simple math equation showing that we add 2 pitches to the 5 of the pentatonic group to create the 7 of the major scale |
white keys | no sharps or flats |
Matching quiz for groups of pitches. |
scale that has 12 pitches | chromatic scale |
musical distance between pitches | interval |
has five pitches | pentatonic scale |
the part of a song we usually sing or hum | the melody |
half step interval | smallest interval in equal temper |
carefree and whimsical | major pentatonic scale sounds ... |
major scales | the scale most composers most use |
white keys of the piano from C to C | the C major scale |
half step + half step = ...? | whole step |
# of eggs in a dozen | # of major scales |
'Major / Minor' tonality review vocabulary. |
tonality | overall sound of a piece of music, or to describe a key center, i.e., C major or minor |
run | a slang term for practicing, also to practice without the music being written out. |
scale degree | giving each pitch in a scale a sequenced numerical value |
root | the fundamental pitch of a scale or chord, designated by the number one |
scale formula | series of musical intervals used to construct a scale |
triads | three note chords consisting of the root or 1st, 3rd and 5th |
flat | musical symbol (b) that lowers a written pitch by half step |
opus | Latin for "work" |
opera | performance art that can combine elements of music, theatre, art and dance together |
relative | a term to describe two different scales that have the exact same pitches |
Matching quiz for major / minor tonality. |
the 2 main tonalities or "ying and yang" of our 12 tone, equal tempered musical system are the ... |
major and minor tonalities |
stepwise motion | melodic motion whereby each pitch of a scale is sounded in succession |
scale degree | numbering the pitches of a scale by it's interval from the root or fundamental pitch |
half step interval | numerically represented by "1/2" |
whole step interval | represented by "1" |
w w 1/2 w w w 1/2 |
major scale interval formula |
projecting an equally, perfectly temper tuned major scale from each of the 12 pitches of the chromatic scale | revolutionary ... the theoretical perfection created by equal temper tuning |
3rd scale degree above the root | determines whether the scale, arpeggio or chord when sounded is of the major or minor tonality |
the C major and A minor scales are said to be "relative" because _____________. | they share the exact same pitches |
all of our different mixes of musical colors are all extracted exclusively from ... | the 12 pitches of the chromatic scale |
Bonus question!
Our three note chords are called ________ . | triads |
'Evolution of scales' vocabulary. |
tritone | musical
interval that splits the octave perfectly in half, the tritone interval consists of three
whole tones or whole steps |
blues scale | 5
minor pentatonic pitches plus one tritone pitch |
vamp | short
musical phrase repeated |
antecedent | first
half of a musical phrase |
consequent | second
half of a musical phrase |
call and response | vocalization
between two voices, often part of spiritual ceremonies |
major scale | 5
major pentatonic pitches plus a two pitch tritone interval |
tonic | the
first or main note in a particular key of musical, the root note of a chord |
love | essential
component in all of life's endeavors |
Matching quiz for evolution of scales. |
smallest functioning scale grouping of pitches within equal temper tuning is the ________ _______. | 5 pitch pentatonic scales |
the minor pentatonic color evokes ______ ________ music. | images of Native American and indigenous music from around the globe |
combining in tune chords with variably tuned melody creates the ________ _____. | American blues |
the _______ interval perfectly splits the equal tempered octave in half and creates sound tension. | tritone |
5 note minor pentatonic scale + one note tritone = the _____ ______ scale. | minor Blues scale |
the major pentatonic scale color creates .... | a joyous, happy go lucky feel, also the Eastern musical sounds of China and Japan |
the 5 note major pentatonic scale + the 4th and 7th scale degree two note tritone creates the ______ ______. | major scale |
the white keys of the piano are the ______ and ________ _______ scales. | C major scale / A natural minor scale |
the black keys of the piano create the _______________ and the ________________ scale. | F# / Gb major pentatonic scale / D# / Eb pentatonic minor scale |
What are the last two words of our national anthem "The Star Spangled Banner"? _____ _____ ! | play ball! |
'Evolving scales into arpeggios' vocabulary. |
linear | left
to right, horizontal motion |
vertical | up
and down motion |
arpeggio | harplike,
a scale in thirds or chord tones |
off beat | describes
rhythms or accents off of the main beats or 1 and 3 in 4 / 4 time |
triplet | rhythmic
figure that places three notes in the space of two |
device | an
artistic element or technique |
chord scale | creating
a scale in thirds |
non-diatonic | pitches
that are not part of a key center |
altered chords | chords
that contain non-diatonic pitches |
hybrid | merging
elements and properties of two unique items into one |
Matching quiz for scales into arpeggios. |
the term arpeggio is an Italian word for ________. | harplike |
we can extract the pitches of the _____ ______ from the pitches of the chromatic scale. | major scale |
music theorists use numbers called _____ _______ to numerically identify each of the pitches of a scale. | scale degrees |
the _____ ____ of the piano can play the C major scale. | white keys |
the magic of converting a scale into an arpeggio is to simply create a new sequence of pitches by ______ every other note in the stepwise scale. | skipping |
arpeggios could be said to be an ______ ______ between scales and chords. | organic bridge |
arpeggios are a good way for ___ _______ __________ to out line the harmony of a song. | non chordal instruments |
an example of a non chordal instrument is the __________. | saxophone |
understanding arpeggios is a good way to spell out the _______ of a chord. | pitches |
arpeggios can be a ______________ for vaulting our melodic lines into musical orbit. | springboard |
'Evolving arpeggios into chords' vocabulary. |
transformation | when the same elements become another entity |
muse | that inner creative light that commutes between our hearts, minds and souls |
chromatic scale | the 12 pitches of equal temper |
major scale | an essential group of pitches in Western music |
arpeggio | harplike, a chord scale, a scale in 3rds |
diatonic triads | using only the pitches of our parent scale to build our three note chords |
root / 3rd / 5th | the three pitches of the triad |
chord progression | the sequence of chords in a song or style |
color tones | the pitches beyond the triad in the arpeggio |
dominant 7th chord | triad + 7th built on the 5th scale degree, main chord color of the blues style |
Matching quiz for making arpeggios into chords. |
one of equal temper tunings greatest gifts to Western music is __________. | harmony |
early, pre-equal temper scales were called the ______ ______. | church modes |
music conceived of as independent melodic lines sounded together is called _________. | polyphony |
our musical scale built in major and minor thirds is called an _________. | arpeggio |
the three notes of the major triad are it's ____, _________ and _______ _______. | root, major 3rd and perfect 5th |
writing music with a distinct melody line supported by a distinct harmony is termed __________ _________. | homophonic music |
the quality of the 3rd of a three note chord determines whether it is a ______ or _______ triad. | major or minor |
complexity of chords and progressions correlates directly to _________ of _______ _____. | complexity of musical style |
pitches used to extend chords past the three note triads are called ______ _____ . | color tones |
that every possible scale and chord available within equal temper tuning can be equally projected from each of the _______________________________________. | 12 pitches of the chromatic scale |
Bonus quiz. Spell out the letters for each of the seven diatonic triads in the key of D major.
chord scale | D | F# | A | C# | E | G | B ... (loops) |
7 triads | D major | E minor | F# minor | G major | A major | B minor | C# minor |
root | ? | E | ? | ? | A | ? | C# |
3rd | F# | ? | ? | ? | ? | ? | ? |
5th | A | ? | C# | ? | E | F# |
'Time and rhythm' vocabulary. |
music notation | the musical symbols we use to preserve our musical ideas in writing |
time signature | a fractional representation of numbers that defines the number of beats per measure and which note value gets the beat |
value | the duration of time assigned to a rhythmic symbol based on the time signature |
subdivide the beat | breaking down any rhythmic note value into it's smaller rhythmic components |
tempo | the rate of speed in which the music flows |
interpretation | how the musical artist aurally portrays musical symbols into musical phrases |
metronome | musical device for measuring time and tempo |
forward motion | a sense of energy in a musical line |
artistic signature | a musical artists aural identity |
rush / drag | two slang terms that imply speeding up or slowing down the original tempo |
Matching quiz for time and rhythms. |
time signature fraction | shows the metrical rhythm of a song |
top # of time signature fraction | beats per measure |
bottom # of time signature fraction | note value that gets the beat |
the part of a song we usually sing or hum | the melody |
each musician has their own sense of ______. | phrasing |
dividing long notes into shorter notes is _________ the beat. | subdividing the beat |
musicians transfer the "feel" of a melody or phrase into _______ and create a time signature. | numbers |
the length of time a note is held is it's _______ _______. | note value |
sing the line ... _____ ___ _____. | play the line |
tempo | the rhythmic slow or fast pace of the music |
another bonus ! ! !
Streaming eighth notes can give the music a _____ ______ ____. | jazzy, swinging feel |
A _______ ___ _____ is one who interprets and creates a melody line in rhythm and sync with the other musicians in the group. | 'master of time' |
key center | a key center is comprised of a set group of pitches that features one pitch as its tonal center, One, the remaining pitches orbit around and create the various tonal gravities that we build the tension / release dynamic in our songs. |
12 major keys | how many major keys there are. |
12 minor keys | how many minor keys we get. |
cycle of 5th's | a "pitch clock" that includes our 12 pitches, arranged clockwise by the interval of a perfect fifth, that pictorially resembles our 12 hour "face" clock. |
A T F A W | that from each of our 12 unique pitches, all are equal, that we can create and intervals, scale, mode, arpeggio chord, song and local universe, from each of the 12 pitches equally, all are equal, we pick one to be the center of a song, but all can be chosen, we can create anything ( any musical event ) from anywhere ( any of the 12 pitches ). |
one pitch center | we 'solar system' our music, chose one to be the Sun, and all else gravitates towards the One. |
diatonic 3 and 3 | that in each key center, it'd seven pitches can create the One, Four and Five chords in major and minor. |
tonal gravity | with one pitch chosen as a center, all others are drawn in by tonal gravity moving through time. |
sharp keys | key centers that use sharps to build up the relative major / minor group of pitches. |
flat keys | key centers that use flats to build up the relative major / minor group of pitches. |
transposing | recreate an interval sequence in a new key, transpose the pitches of one key to another. |
scale / arpeggio / chord | the core evolution that creates three main compositional elements. |
key centers | Please get pencil and paper to start from scratch, and build up a 'chord coffee spelling chart' styled presentation for each of our pitches, into their relative, diatonic, relatives by diatonic, twelve relative major / minor key centers. |
__________ | a key center is comprised of a set group of pitches that features one pitch as its tonal center, One, the remaining pitches orbit around and create the various tonal gravities that we build the tension / release dynamic in our songs. |
12 major keys | how many ________ there are. |
____ minor keys | how many minor keys we get. |
cycle of 5th's | a "pitch clock" that includes all ______ pitches, arranged clockwise by the interval of a perfect fifth, that pictorially resembles our 12 hour "face" clock. |
____________ | that from each of our 12 unique pitches, all are equal, that we can create and intervals, scale, mode, arpeggio chord, song and local universe, from each of the 12 pitches equally, all are equal, we pick one to be the center of a song, but all can be chosen, we can create anything ( any musical event ) from anywhere ( any of the 12 pitches ). |
one pitch center | we 'solar system' our music, chose one to be the Sun, and all else ________ towards the One. |
diatonic 3 and 3 | that in each key center, its seven pitches can create the One, Four and ______ triads in major and minor. |
tonal ______ | with one pitch chosen as a center, all others are drawn in by tonal gravity moving through time. |
_______ keys | key centers that use sharps to build up the relative major / minor group of pitches. |
flat keys | key centers that use ______ to build up the relative major / minor group of pitches. |
_________ | recreate an interval sequence in a new key, transpose the pitches of one key to another. |
scale / arpeggio / chord | the core _________ that creates three main compositional elements. |
key centers | Please get pencil and paper to start from scratch, and build up a 'chord coffee spelling chart' styled presentation for each of our pitches, into their relative, diatonic, relatives by diatonic, twelve relative major / minor key centers. |
scale # degrees |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
C major scale |
C |
D |
E |
F |
G |
A |
B |
C |
arpeggio # degrees |
1 |
3 |
5 |
7 |
9 |
11 |
13 |
15 |
C major arpeggio |
C |
E |
G |
B |
D |
F |
A |
C |
chord # / quality |
Imaj7 |
ii-7 |
iii-7 |
IVmaj7 |
V7 |
vi-7 |
vii-7 |
VIII |
diatonic 7th chords |
CEGB |
DFAC |
EGBD |
FACE |
GBDF |
ACEG |
BDFA |
CEGB |
scale # degrees |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
A minor scale |
A |
B |
C |
D |
E |
F |
G |
A |
arpeggio # degrees |
1 |
3 |
5 |
7 |
9 |
11 |
13 |
15 |
A minor arpeggio |
A |
C |
E |
G |
B |
D |
F |
A |
chord # / quality |
i-7 |
vii-7b5 |
III |
iv-7 |
v-7 |
VImaj7 |
VII7 |
i-7 |
diatonic 7th chords |
ACEG |
BDFA |
CEGB |
DFAC |
EGBD |
FACE |
GBDF |
ACEG |
'Seven highlights of music history' vocabulary. |
archeology | the study of human cultures from artifacts |
computer modeling | using our modern technology of computers to recreate, speculate, envision and expand the 'what if' possibilities of information and material fragments we do have. |
cycle of fifths | a "pitch clock" that includes our 12 pitches, arranged clockwise by the interval of a perfect fifth, that pictorially resembles our 12 hour "face" clock |
fundamental pitch | the pitch created by the entire length of a taut string, column of air etc., also the root pitch of a key center within the 12 tone system |
overtones | tones that naturally exist over the fundamental pitch |
music notation | symbols used to preserve in writing our musical sounds |
monophonic | music with one melodic line |
polyphonic | music with two or more melodic lines |
homophonic | music with one melody line supported by chords |
New World | a phrase used by folks the world over, say starting 500 years ago, to describe the existence of a continental land mass that would be called the "Americas", north and south, that became the vision of a new home for people from every part of our world where they could live in a world of opportunity |
Matching quiz for history highlights. |
Neanderthal flute | A thousands of years old flute which may have sounded the natural scale still in use today. |
Pythagoras | ancient Greek musician, mathematician and philosopher who created the cycle of fifths for the 12 pitches we use today. |
monophonic music | music with only one melody line, examples include Native American music and European Gregorian chant. |
polyphonic music | two or more melody lines often rhythmically independent of each other. |
homophonic music | uses vertically stacked pitches creating chords or harmony to support a single melody line. |
standard musical notation | the symbols we use to write down our musical idea, evolved from mensural notation in the 9th century, about 1200 years ago. |
J.S. Bach | German Baroque composer and possible champion of the then new equal temper tuning. |
American music | a cultural mix of sounds from around the globe. |
early blues | combined African melodic and rhythmic and European harmony elements, in part evolved from revival meetings where everyone involved sang the melody. |
the 'piano forte' (soft/loud) | a keyboard instrument invented in the early 1700's in Italy that could play each pitch with dynamic shadings from soft to loud, depending on how hard the key was struck, became the champion of the equal tempered method of tuning. ~ wiki ~ equal temper tuning ~ |
'Composing' music vocabulary. |
muse |
that inner artistic sense that directs our creativity |
hook | slang term for a "catchy" melody |
motif | the "cell" of an original artistic or intellectual idea that gets developed |
vamp | slang term usually denoting a shorter, complete musical phrase oft repeated |
musical form | a musical structure of phrases, measures and sections |
antecedent | the first part of a musical or intellectual statement |
consequent | the second part of a musical or intellectual statement that usually brings to us a sense of closure to the whole idea |
Iambic pentameter | a style of spoken rhythm, articulated through inflexion and emphasis of syllables that is used with writing, poetry or prose |
12 bar blues | three / four bar phrases to complete the form |
song form | usually 32 bars comprised of four / eight bar phrases or two / sixteen bar phrases |
through composed | allowing our muse to dictate how a musical composition unfolds |
Matching quiz for composing music. |
composing is simply about putting our ideas into ________ _______. | a reality of sounds |
the words of a pop song that get stuck in our heads is called the _______. | hook |
the __________ and ____________ phrases are the two parts of musical phrase | antecedent and consequent |
the song "Happy Birthday" is an _______ ____ __________ . | eight bar phrase |
most blues songs use the _________ ______ form. |
12 bar |
a common 32 bar form where the first melodic idea ( A ) is repeated three times in the form is __ __ __ __. | A / A / B / A |
a common 32 bar form of two 16 bar sections is identified by the letters ___ ___ . | A / B |
in composing there is no ______ and _______. | right and wrong |
that composing is 10 % inspiration and 90% perspiration is a quote attributed to _________. | Beethoven |
potentially the most destructive force to individual development and getting on with one's life in high school is ____ _______ . | peer pressure |
12 / 'Form In Music' vocabulary. |
the top |
slang for the beginning of a song's form |
da capo | Italien for 'the head.' |
turnaround | usually a couple of measures that closes the form and returns us to the top |
section letters | capitol letters in a chart that delineates the main sections of a song's form. |
four bars | T / F ... is everything a four bar phrase |
eight bars | two / four bar phrases |
sixteen bars | 4 / 4 bar phrases |
thirty two bars | 8 / 4 bar phrases |
12 bar blues | three / four bar phrases to complete the form |
song form | usually 32 bars comprised of four / eight bar phrases or two / sixteen bar phrases |
through composed | allowing our muse to dictate how a musical composition unfolds |
coda | the 'tail', a closing statement to bring a song to its finish. |
Matching quiz for form in music. |
slang for the beginning of a song's form |
the top |
Italien for 'the head.' | da capo |
usually a couple of measures that closes the form and returns us to the top | turnaround |
capitol letters in a chart that delineates the main sections of a song's form. | section letters |
T / F ... is everything a four bar phrase | four bars |
two / four bar phrases | eight bars |
4 / 4 bar phrases | sixteen bars |
8 / 4 bar phrases | thirty two bars |
three / four bar phrases to complete the form | 12 bar blues |
usually 32 bars comprised of four / eight bar phrases or two / sixteen bar phrases | song form |
allowing our muse to dictate how a musical composition unfolds | through composed |
the 'tail', a closing statement to bring a song to its finish. | coda |
Charts and posters / print. Having visual reminders helps us to 'stay on task' as educators often quip, creating a visual representation of things we want to learn about. Lucky in our music studies, there's these now ancient ways to 'illustrate' the pitches and their relations to one another in a poster format. Twelve big letters is all we get, so it makes a lot of this learning easier :) |
Through the tones / diatonic. So in understanding this essential term and concept we can define its two parts. So if this is 'all Greek' to ya, no worries, for that's the language where this word comes to us from. Rote memorize this please by creating your own sketch of the following chart. ~ D I A T O N I C ~
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One page theory book. For learner's who usually don't carry any books, here's one page of the info, that if mastered through and through, opens the 'theory door of learning' forever more. |
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So there it is ... :)
"You have to both understand the box and be able to think outside it." |
wiki ~ Paul Krugman
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References. References for this page's information comes from school, books and the bandstand and made way easier by the folks along the way. |
Find a mentor / academia Alaska. Always good to have a mentor when learning about things new to us. And with music and its magics, nice to have a friend or two ask questions and collaborate with. Seek and ye shall find. Your musical friends, local high schools, librarys, friends and family, musicians in your home town ... just ask around, someone will know someone who knows about music and can help you with your studies in this musical arts e-book. |
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"These books, and your capacity to understand them, are just the same in all places. Always bear in mind that your own resolution to succeed, is more important than any other one thing." |
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References academia Alaska. And when you need university level answers to your questions and musings, and especially if you are considering a career in music and looking to continue your formal studies, begin to e-reach out to the Alaska University Music Campus communities and begin a dialogue with some of Alaska's own and finest resident maestros ! |
'energize your own learning in life through education, exploration and discovery ...' comments or questions ...? |