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MusicSmartly – Learn by song, play, motion and images

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Four Corners Game: Classroom Brain Break | Rhythm Edition!

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Welcher Ton macht die Musik? | Reportage mit Willi Weitzel | Willi wills wissen

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hr-Sinfonieorchester – Frankfurt Radio Symphony

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Young Person's Guide: Das Orchester und seine Gruppen – vorgestellt von Tobi Kämmerer

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Musical Form  ABA, Rondo, Theme and Variation

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The instruments of the orchestra worksheet

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Classical orchestra online worksheet for Tercer ciclo. You can do the exercises online or download the worksheet as pdf.

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LES RENCONTRES CHANTANTES
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Objectif du site : promouvoir le chant à l'école primaire, à travers des rencontres en chansons, grâce à l'apport de versions instrumentales...

Bienvenue sur le site des Rencontres chantantes ! Vous trouverez sur ces pages des dizaines de chansons à partager entre classes de cycle 1, 2 et 3... Des paroles, des fiches pour les élèves, des versions instrumentales et des versions chantées sont proposées. N'hésitez pas à nous faire part de vos remarques...... et bonnes rencontres, en chansons ! Recherche

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Répertoires de chants et chansons à utiliser en école primaire : versions instrumentales, paroles, versions chantées, fichiers MP3 et MIDI...

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A music lesson | Instruments and musical figures for kids

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Musical Notation - The quarter, the eighth and the sixteenth note - Music for Kids

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Musical Notation - Learning Music for Kids - The quarter note, the half note and the whole note

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Percussion instruments for kids - Musical Instruments

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String instruments for kids - Musical Instruments

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Wind Instruments for Kids - Musical Instruments

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Partez à la découverte du langage universel de la musique grâce à un voyage sonore passionnant : une encyclopédie numérique complète, riche et animée pour tout connaître de la musique, son histoire, ses grands noms, ses particularités... des jeux, des informations insolites, des articles simples, étonnants et sonores pour les musiciens apprentis ou confirmés. En avant la musique !

Pour être informé(e) des nouveautés, inscrivez-vous à la newsletter rue des écoles.

Pour aller plus loin, retrouvez en vente sur Place des enseignants :

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Partez à la découverte du langage universel de la musique grâce à un voyage sonore passionnant : une encyclopédie numérique complète, riche et animée pour tout connaître de la musique, son histoire, ses grands noms, ses particularités... des jeux, des informations insolites, des articles simples, étonnants et sonores pour les musiciens apprentis ou confirmés.

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www.klassik4kids.at ist eine neue Wissens- und Informationsplattform zum Thema klassische Musik für junge Menschen. Kompaktes Wissen über Komponisten, Epochen, Instrumente, Informationen zu Veranstaltungen, aktuellen Musikern, eigens entwickelte Spiele rund um die Klassik, Gewinnspiele etc. öffnen der Jugend die Tür zu einem Kulturbereich, für den Österreich weltweit bekannt ist.

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Mitten im RO: Die Blechbläser | Münchner Rundfunkorchester | BR KLASSIK

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Discover the very best musical Google Doodles - from the world of classical music and beyond.

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Create your own opera inspired song! A machine learning experiment by David Li in collaboration with Google Arts & Culture

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All digital and analogue activities for school classes and groups are free of charge. The same applies to projects for the advancement of up-and-coming young musicians. The only exceptions are tickets for concerts in the "Fragezeichen" workshops, which cost 8 euros apiece. In its school projects, the BRSO works together with the Bavarian State Ministry of Education, Culture, Science and Arts.

"Echtzeit"
Orchestral Rehearsals - presented by young people for young people

Famous conductors, exciting music, a world-class orchestra: all of this can be experienced at first hand in "Echtzeit" by schoolchildren from every type of school.
more

"Fragezeichen ?"
Discussion-Workshops for students

Talking about music means describing impressions, raising questions and putting ideas to the test. Here young people explore the roots of pieces of music in conversation with orchestra musicians, conductors, soloists, journalists and scholars.
more

School Tours

Schoolchildren in rural Bavaria often find it expensive and time-consuming to attend the BRSO's concerts and outreach events. Now the world-class musicians of the BRSO can be experienced at first hand by schoolchildren outside of Munich and its suburbs.
more

Videochats

Under the slogan "We're with you", schoolchildren can now meet the BRSO digitally in interactive video chats. Here musicians talk with kids about their instruments and their work in the orchestra.
more

"re:compose"
Contemporary art music at school - teaching material

Our "re:compose" brochure gives teachers specific tips for bringing pupils into contact with contemporary art music and getting them excited about it - namely, by letting them make music themselves.
more

BRSO "BUSY PICTURE"

Who gets to beat the drum? Where does the glitter come from? Who packs the orchestra's luggage? Cartoonist and illustrator Florian Mitgutsch has designed an amusing "busy picture" for the BRSO that gives primary school children a fun way to discover the structure, instruments and peculiarities of a radio symphony orchestra.
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OPEN REHEARSALS - ORCHESTRA CLOSE-UP

Here groups and school classes experience the BRSO at close quarters in rehearsal, including a backstage tour and conversations with musicians.

"ON AIR!" - RECORDING STUDIO TOURS

"On Air!" - Recording Studio tours

From conductor's desk to radio and internet: Here schoolchildren find out how this comes about, in guided tours of the sound booth in Hercules Hall or the Philharmonie.

P-SEMINARS (HIGH SCHOOLS)

P-Seminars (high schools)

P-seminars give Bavarian pupils practical glimpses into various professions associated with the BRSO, such as moderation, concert management and media coverage. For example, they can make their own music videos.

SCHOOL PARTNERSHIPS (MIDDLE AND SECONDARY SCHOOLS)

SCHool Partnerships (middle and Secondary schools)

During two-year partnerships, pupils learn about various aspects of working with a symphony orchestra and present their discoveries in a wide range of projects.

Impressions of our Projects

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BRSO Education
Dr. Juliane Ludwig
Maxie von Neumann-Cosel
Hannah Birkner
Symphonieorchester des Bayerischen Rundfunks
Rundfunkplatz 1 80335 München

email: brso.education@br.de

In our media library you can find videos and reports on our projects.

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For Pupils, Teachers and Students - Symphonieorchester des Bayerischen Rundfunks

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All digital and analogue activities for school classes and groups are free of charge. The same applies to projects for the advancement of up-and-coming young musicians. The only exceptions are tickets for concerts in the "Fragezeichen" workshops, which cost 8 euros apiece.

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Kinderlieder mit Noten und Text auf LABBÉ | Labbé Kinderseiten

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Auf LABBÉ findest du zahlreiche Kinderlieder, mit Noten und Text, zum Anhören und Singen. Klassische deutsche und internationale Kinderlieder.

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Mama Lisa's World of Children and International Culture

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Mama Lisa's World of Children and International Culture

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Mama Lisa's World presents thousands of traditional kids songs from over a hundred countries and cultures! We also feature a major collection of Mother Goose Rhymes, global recipes, holiday traditions and lively conversations about childhood around the world.

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Site des éditions animimes. Jean Naty-Boyer, biographie, discographie, publications, chanson avec partition, liste des chansons, chansons (Paroles et musiques),

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Mr. Henry is a seasoned elementary music teacher, in the public and private music world that offers a top-notch online piano course for kids and a variety of music education resources that teachers & kids love! MILLIONS of views on YouTube with thousands of teachers using the entertaining & educational videos in the classroom!

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Introduction to Pitch!  | Kids Music Lessons

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Primary Music

Key Stage 1 / Key Stage 2 / Age 5 - 11

Primary Music takes a cross-curricular approach, with music objectives explored in relation to popular infant topics or related areas of the curriculum. The content is ideal for the non-specialist teacher, offering a mix of materials chosen especially to appeal to each age group with clear instructions on how and what to do, and providing a term's worth of music activity. There are opportunities to sing, take part in music activities, appraise music, with suggestions for composition included in the Teacher's Notes.

Age 3 - 11. A collection of songs to support EYFS, KS1 and KS2, grouped by theme.

Songs

Age 5 - 7. Songs celebrating Columbus, Henry VIII, Elizabeth I, Pepys, Victoria...and more!

History - Famous people

Age 5 - 7. Content includes 'Music Food Fest' and 'Instruments Together'.

Music: Key Stage 1

Age 5 - 7. Song and singing for KS1. Series include 'The Magic Hummingbird'.

The Song Tree

Age 7 - 9. Series include 'Romans!', 'Persephone' and 'Evacuees'.

Time and Tune

Age 7 - 11. Video resources with songs and activities linking to the history topic 'Vikings'.

Viking Saga Songs

Age 7 - 11. Video resources with eight songs, story animation and a performance script.

Macbeth

Age 7 - 11. Video resources with song tutorials, story animation, songs and playscript.

The Tempest

Age 7 - 11. Video resources with songs, tutorials and the story of The Trojan War.

Heroes of Troy

Age 7 - 11. Video resources exploring R L Stevenson's classic story through music.

Treasure Island

Other content including music

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School Radio - School Radio - Primary Music

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Promotions of the Music brands on the Music brand index page

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This list of resources is a starting point for those looking for further information or support around music education, including careers advice. It is not a definitive or exhaustive list.

All resources and websites listed here are free to access, but where access to more information or support might be available, for example upon paid membership to subject associations, this has been stated.

Government resources

These resources are all referenced directly in the national plan for music education. They include resources provided by the Department for Education, Ofsted and Arts Council England.

Music curriculum

There is statutory guidance for the national curriculum music programmes of study for key stages 1, 2 and 3.

The model music curriculum helps schools to teach music at key stages 1, 2 and 3 and progress pupils through the national curriculum.

GCSE music provides the required GCSE subject content for music for teaching in schools.

GCE AS and A level music provides the required GCE AS and A level subject content for music for teaching in schools and colleges.

Creative support

Developing your creative practice is a programme run by the Arts Council England. It supports individuals who are cultural and creative practitioners and want to take time to focus on their creative development.

Local Cultural Education Partnerships support children and young people to fulfil their creative potential and access high-quality cultural experiences where they live, where they go to school, and where they spend their free time.

The National Youth Music Organisations, co-funded by Arts Council England and the Department for Education, develop talented young musicians across a range of musical genres.

The Music and Dance Scheme provides grants and help with fees at 8 independent schools and 21 centres for advanced training for young musicians and dancers. The scheme also provides financial help to go to an independent cathedral or collegiate choir school.

Background

A review of music education in England was published in 2011 and sets out recommendations for minimum expectations of what any child going through the system should receive in terms of an education in music. It informed the original national plan for music education published at the same time.

In 2020, the Department for Education undertook a call for evidence on music education to inform the refreshed national plan for music education. The report published in 2021 sets out the findings of this consultation.

Ofsted's research review on music published in 2021, looks into factors that influence the quality of music education in schools in England.

Other guidance

Development Matters offers a top-level view of how children develop and learn, including with music.

The early years foundation stage (EYFS) statutory framework sets the standards for learning, development and care for children from birth to 5, including the areas of learning and development relevant to music.

The teacher recruitment and retention strategy is the strategy for recruiting and retaining school teachers in state-funded schools in England, including in music education.

The education inspection framework sets out how Ofsted will inspect state schools, further education and skills providers, non-association independent schools and registered early years settings in England.

The joint understanding between the Department for Education (DfE) and the Independent Schools Council (ISC) sets out how the independent sector will work in partnership with state schools to help raise attainment and, in particular, help pupils from disadvantaged backgrounds.

The strategy for sustainability and climate change for the education and children's services systems sets out what actions education providers in England can take to reduce their environmental footprint. This includes providers supporting music education.

Arts Council England's environmental programme which provides support for cultural organisations and individuals to lead the way in their approaches to environmental responsibility.

Professional and amateur musicians

The following organisations are subject associations and membership organisations that advocate for and support musicians in their journey to provide high-quality music education. All of the organisations listed have free-to-access websites with high-quality advice and information. However, paid membership options for a greater range of resources are also available.

The Incorporated Society of Musicians is the UK's professional body for musicians representing over 11,000 members. They are dedicated to promoting the importance of music and protecting the rights of those working in the music profession. Memberships need to be paid for, but the website also signposts to a number of resources that are free, including for professional development.

Making Music is the UK membership organisation for leisure-time music, with over 3,600 groups representing around 200,000 music makers across the UK. You can join Making Music as a paid member or use the free find a music group tool.

The Music Education Council acts as a medium for bringing together organisations and institutions in the UK involved in music education and music education training. You can join the MEC as a paid member.

Music Mark is a membership organisation which advocates for and supports high-quality music education for all children and young people. Memberships need to be paid for, but there are many free resources available to all. This includes an interactive find my local music service tool to help connect young people, schools and others with Music Hubs in England and music services across the UK.

The Musicians' Union is the UK trade union representing over 30,000 members working to protect members' rights and campaign for a fairer music industry. Memberships need to be paid for however, the website has a number of benefits open to those who are not signed up.

The Music Teachers Association is the largest and longest established network of music teachers in the UK, supporting all who are connected with a school music department. Memberships need to be paid for, but PGCE, NQT and graduate music assistants can join for free.

Schools, teachers and music hubs

The following resources are intended to support school leaders, classroom teachers and wider music educators, such as those in music hubs, to deliver high-quality music education.

Resources for teaching

ABRSM is the UK's largest music education body, one of the largest music publishers and the world's leading provider of music exams. They support teachers and learners with a range of award-winning digital resources and publications. This includes Classroom 200 which is a free online resource for music teachers working with learners up to the age of 14, including free access to recordings and downloadable lesson plans.

The BBC provides resources to help classroom learning and support the study of music across all stages. These include:

Bring the Noise which helps you to find a range of free online music resources and includes guides for teachers and educational games targeted at early years and key stage one children

Bitesize which provides resources designed to support the study of music across all stages and exam boards

10 Pieces opens up the world of classical music to children and young people through films, lesson plans, instrumental arrangements and live events

The subject association, Music Mark, provides a comprehensive range of resources to celebrate and encourage music-making, particularly amongst parents and teachers. These include:

Get Playing which signposts to music hubs and services across the UK to help kickstart musical learning

10 things every school should know about music

research on the power of music which looks at the impact of making music on the intellectual, social and personal development of children and young people

a common approach which is an online resource to support instrumental and vocal educators in their teaching practice and includes mapping instrumental and vocal learning to the curriculum and qualifications

Sing Up is a music education organisation that provides resources for singing activities for primary schools in England in line with the national curriculum. The website includes a free blog with advice and resources, although more information can be accessed with a subscription.

Guidance for music educators

Arts Council England provides downloadable posters designed to encourage children and young people to become more involved in music and summarise the refreshed national plan for music education.

Arts Council England, Music Mark and the National Governors Association have created a music guide for governing boards about providing high-quality music education in schools.

The Gatsby Benchmarks is a framework for good career guidance developed to support secondary schools and colleges in providing students with the best possible career information, advice, and guidance.

The Royal Opera House Learning Platform provides free creative content written for, and by teachers, bringing the world of opera, ballet and theatre craft into the classroom.

Speakers for Schools is an example of targeted schemes that offer career talks in schools to help to inspire young learners, open their eyes to opportunities working in music, raise their aspirations and widen participation.

The Tri-Borough Music Hub has created a practical guide to developing early years provision across music education hubs.

Organisations that support music education

The Awards for Young Musicians offers programmes that sustain young people's musical progress and help teachers identify and nurture talent wherever they find it. They also produced a skeleton strategy to support all children and young people's musical progression.

#CanDoMusic is a campaign created to support school and instrumental music teachers, and signpost them to practical resources to support children and teachers to learn and make music in schools.

The Education Endowment Foundation (EEF) is an independent charity dedicated to breaking the link between family income and educational achievement, by supporting schools to improve teaching and learning through better use of evidence.

The Sound of the Next Generation offers insights into the diverse ways young people engage with and value music and music-making, bringing to light the positive and meaningful impact music has on them.

The Voices Foundation is a national music charity that believes singing is a powerful way for children to become proficient musicians, excel across the curriculum and develop self-esteem. The website hosts free advice and resources including virtual singing assemblies, but further resources and their full programme can be paid for.

Bringing technology into the classroom

The following resources are intended to help teachers increase their use of technology in the classroom. This software is free and readily available to use online without requiring downloads unless specified.

Software and applications

Audacity is an easy-to-use, multi-track audio editor and recorder. It is free, and available to download on Windows, Mac and other operating systems.

Bandlab is a cloud platform where musicians and fans create music, collaborate, and engage with each other across the globe.

Chrome Music Lab is a suite of free online applications that are designed to make learning music more accessible through fun, hands-on experiments. It is suitable for early years, key stage 1 and key stage 2.

Dreampipe is a virtual synthesiser that can be played on a QWERTY keyboard. The website also includes pre-set drum loops and a 4-track recording and looping function, and is suitable for key stage 2 and key stage 3.

Incredibox is a free online music making resource that allows students to create simple mixes by managing a group of seven animated beatboxers. Children can compose and then record their own arrangements, helping them identify the difference between melodic and percussive sounds. It is suitable for early years, key stage 1 and key stage 2.

SoundTrap is an online cross-platform digital audio workstation for browsers that allows users to create music or podcasts. This is a paid resource if it is to be used as a school in the classroom however, it could be shared with students as it is free if you sign up as an individual user.

Using digital technologies as part of music education

These additional resources listed showcase how digital technologies can be used as part of musical learning, and are intended to further inspire the use of technology in music provision.

Conductive Music is an interactive programme, which includes workshops, online learning, teacher training and more, which blends music, technology and sound.

Connect Resound is an action research project led by youth music charity NYMAZ, exploring how digital technologies can be used to deliver music education for children in rurally isolated areas.

The Incorporated Society of Musicians has brought together an overview of the types of technologies, and signposts ways, resources and ideas for using these as part of an inspiring music education.

JAMES is an organisation comprised of music and media industry professionals who bring specialist knowledge and experience that contributes towards The JAMES Course Accreditation Scheme, careers advice and specialist support for universities, students and parents.

Technology in Music Education is a community interest company established to increase knowledge and confidence in the use of technology in a wide range of music education settings.

Digital Innovation in Music Education is an alliance of organisations and individual practitioners committed to raising awareness of, and the adoption of, innovative digital technologies for the benefit of children and young people's music education and learning. Hosted by Music Mark, the alliance will share case studies and resources through the website and events and training.

Improving access, diversity and inclusion

The following resources are intended to make music education more accessible and inclusive to all young people, regardless of their circumstances or background. It includes some examples of organisations that are doing work in this space, as well as more practical toolkits and frameworks for music educators to follow.

Support for young people

The Amber Trust provides musical opportunities for blind and partially sighted children, and children with more complex needs via its music awards and music services. It has also created Little Amber to give practical help to parents of blind babies.

Attitude is Everything improves Deaf and disabled people's access to live music by working in partnership with venues, audiences, artists and the music industry through various initiatives and programmes. These include the:

Music and the Deaf is a set of music clubs in Yorkshire, Manchester and London where children can learn a musical instrument with highly trained tutors and sign language interpreters.

The Music Man Project is an international music education service for children and adults with learning disabilities, providing accessible music tuition and a number of online resources including live lesson resources, podcasts, and blogs.

Sounds of Intent is a free assessment tool which aims to investigate and promote the musical development of children and young people with learning difficulties.

The National Open Youth Orchestra is the world's first disabled-led orchestra to give some of the UK's most talented young disabled musicians a progression route.

The National Youth Orchestra has an NYO Inspire programme, for musicians playing at grade 6 standard or above on orchestral instruments. NYO Inspire is specifically for musicians underrepresented in the sector such as young people who are state-educated, home-schooled, or Black, Asian or ethnically diverse.

Open Up Music is a charity which works alongside young disabled musicians to challenge preconceptions and bring about greater diversity in music. They have also created Clarion - an accessible musical instrument that can be played with any part of the body, including the eyes.

Small Green Shoots is a youth-led charity that helps young people facing difficult life circumstances gain access to the entertainment and creative industries through paid classroom learning, vocational training, internships and access to creative grants.

The Young Urban Art Foundation aims to empower the lives of young people by strengthening well-being and building opportunities. They deliver programmes in hard-to-reach areas where young people are at high risk of being a victim of crime or child exploitation. Their programmes are centred around prevention and built to drive creativity, such as their multimedia bus workshops, which they take into communities to inspire and build their confidence.

Girls Rock London is a charity based in Hackney, London dedicated to providing high-quality music programming for young and adult women, trans, and non-binary people, with a specific focus on increasing access for people who face barriers to participation. Their programmes are aimed at complete beginners as well as experienced musicians.

World Heart Beat Music Academy aims to nurture young talent by providing a diverse, unique and inclusive teaching environment, offering a broad programme of music lessons, workshops and events. They provide music education for all young people, offering free music lessons and instruments for those in need.

The Alliance for a Musically Inclusive England includes 13 founder organisations that work together to promote equity in music education and support others to do the same through advocacy, CPD, resources, and strategic alliances. The resources can be found on the Inclusion Resource Hub.

Financial support for equipment

Take it Away provides interest free loans for the purchase of musical instruments available through a network of high street retailers across England.

UK Music's Rehearsal Spaces Project supports rehearsal spaces in urban and rural areas across the UK. Each space provides instruments and equipment for free or for minimal cost.

The Royal National Institute of Blind People provides music advisory service which offers advice on music education, employment, ABRSM Braille exam pieces, buying and loaning music.

Advice and guidance for music educators

Creating a more inclusive classical music is a study of the English orchestral workforce and the current routes to joining it.

Drake Music is the leading national organisation working in music, disability and technology. The website contains resources to guide both learning and practical teaching, including:

Universal Music UK has launched a handbook for embracing neurodiversity in the creative industries, highlighting the importance of having neuro-diverse-friendly policies and practices in the workplace. Universal Music UK is currently also developing a package of initiatives for schools, students and parents to support progression into the music industry. Other resources funded by Universal Music UK include Sound Foundation, an independent music education charity aimed to improve access to music education in the UK and Ireland. Sound Foundation includes funding awards for individuals, teachers and schools.

Organisations focused on diversity and inclusivity in music

The National Centre for Inclusive Excellence is a national initiative, established by Bristol Music Trust, which aims to transform the music industry and education sectors by removing barriers to participation at all levels.

Changing Tracks is a programme of peer support and learning, training and consultancy for, with and by music services wanting to improve equality, diversity and inclusion. They help music services to be more inclusive by providing free peer working groups, training and consultancy, advice and resources and action research projects.

Talk into Action supports organisations in the music education sector to achieve their equity, diversity and inclusion goals.

I'M IN: The Inclusive Music Index is a self-analysis diversity and inclusion tool which enables organisations working in and with music to identify where improvement and change is needed.

Youth Music has provided resources to help music organisations audit and review their own work to make music education more inclusive. These include:

Organisations supporting disabled musicians

Creative United is a community interest company that drives economic growth and social impact in the arts and creative industries. They have a number of programmes and guides available online to support disabled musicians. These include:

Heart n Soul provides opportunities for people with learning disabilities to discover, develop and share their power and talent as widely as possible, including online activities to do at home.

Shape Arts is a disability-led organisation which works to improve access to culture for disabled people by providing opportunities, training cultural institutions to be more open and running participatory programmes.

Internships and apprenticeships

The following resources are intended to help young people find an internship or apprenticeship in the sector. It also includes guides and advice to music organisations who may wish to start offering more of these opportunities.

Music apprenticeship and internship schemes

The BRITs apprenticeship scheme offers exciting opportunities to young people looking to develop a career in the music industry. It gives 10 individuals a 15-month paid placement with an independent record label or music company.

Sony Music 12-month internship programme offers the chance to gain incredible experience working at the heart of one of the UK's most successful major labels. The internships are paid 12-month roles.

Universal Music UK provides an intern scheme which offers the opportunity to see what it's really like to work in the music industry by providing paid 6 to 12-month placements.

Warner Media provides paid internships and offers young people to share their voice and perspective to help grow the business.

Advice for young people

The AIM Group specialises in finding training and employment opportunities for those who want to reach their full potential. They work with a range of employers and training providers to help young people find apprenticeships.

UK Music is an industry-funded body representing the collective interests of the recorded, published and live arms of the British music industry. They have produced a number of resources to help with apprenticeships and internships. These include:

Advice for employers

Creative and Cultural Skills provides information and guidance to the sector to help them better understand the value of apprenticeships and non-traditional training routes, accessible recruitment processes and opportunities for children and young people, including a best practice guide.

The National College Creative Industries works with employers in the creative industries to help them recruit and train new talent through apprenticeships. They have also developed an apprenticeships employer support pack for employers who are thinking of taking on an apprentice for the first time.

Careers advice and skill development

The following resources are intended to offer career advice and further training to those seeking to pursue a career in the music industry and wider creative sector. These websites offer information on the types of careers available, as well as application and interview support.

Arts Council England is undertaking research with others to better understand the barriers to children and young people developing their creative skills and talent post-pandemic. This will inform a methodology for tracking the progression of children and young people that is simple and communicable.

Conservatoires UK is the voice of conservatoire education in the UK. Their role is to develop best practice for training and education in the performing arts and to promote the sector's excellence nationally and globally.

Creative Access enables people from communities under-represented in the creative industries to access careers, progress and reach leadership. They offer application and interview support, internship, job and career support as well as flagging latest opportunities.

Creative Mentor Network has a mission to ensure people from lower socio-economic backgrounds are fully represented in the creative workforce through mentoring programmes and training.

Discover! Creative Careers brings together careers information and opportunities from creative organisations and across the wider sector in one explorable directory.

Get into Theatre has been created by leading theatre companies in the UK to help individuals find all the information and opportunities required to pursue a successful career in theatre.

Help Musicians provides a useful advice section on their website, to help those researching sources of funding, or looking for help with their career, money, housing, and health and wellbeing.

Kinetika Bloco is a performance group drawing influences from the Caribbean, Brazil, Africa and New Orleans. Their mission is to get young people from south London engaged in long-term creative activity advancing their education, skills and capacity.

MAP Charity Leeds helps young people unable to access the mainstream school system, by offering education provision. They will soon offer apprenticeships for over 16s.

Part of the Music Local network, MUSIC:LEEDS supports, develops, grows and promotes music in the city across all levels, genres and cultures.

The Music Managers Forum is the world's largest professional community of music managers. They run an accelerator programme for music managers backed by YouTube, Arts Council England, Creative Scotland and the Scottish Music Industry Association.

Route exists to support young people from marginalised backgrounds to pursue a career in the music industry through story sharing and practical advice.

Tomorrow's Warriors is a leading talent development agency which increases opportunities, diversity and excellence in and through jazz. They support the early careers of young musicians whose financial or other circumstances might otherwise lock them out of opportunities.

UD Music is a London-based music organisation bringing communities together around Black music and Black music culture. It acts as a bridge between talent and the music industry through a number of its education and talent development programmes.

The Universities and Colleges Admissions Service (UCAS) website provides information on higher education courses. It includes a variety of specialisms in music, including musical performance, composition, and production. There are many genres of music, with opportunities to gain practical experience through large networks.

Understanding that young people may either choose to enter a career straight away, or continue further study in the music field, UK Music has put together a number of resources to help young people navigate their next steps. These include:

Wired4Music is a music council for people in London aged 16 to 25 established. It offers practical guidance, support and resources including sharing internships, events and experiences.

Youth Music has put together information on How To Build a Career In The Music Industry alongside a useful opportunities board and resources, in relation to their 'NextGen Fund'.

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The power of music to change lives: resources

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This list of resources is a starting point for those looking for further information or support around music education, including careers advice. It is not a definitive or exhaustive list. All resources and websites listed here are free to access, but where access to more information or support might be available, for example upon paid membership to subject associations, this has been stated.

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"Thunderstorm" a graphic notation composition by Alex Chorley, age 12

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Students love creating their own maps. However, students need the scaffolding of the prior experiences with musical mapping that you can provide in your classroom. The experience of student-created maps provides fertile ground for students to experience multiple perspectives within an expressively shared listening experience.

This process cannot be rushed. Allow plenty of time for students to experience, explore, share, and find ways to creatively represent their musical ideas. Make sure you try to make your own map - it will help you understand how to select music that is conducive to mapping (clear melodic contour, form, texture) and will also help you realize how time intensive yet engaging this process is.
ALWAYS take the time to allow students to share their maps by pointing to them as the music is heard once again. It is a time to celebrate their musical knowings and for you and their peers to gain a window into their musical ideas.

The process that I have found to be successful:

Students have considerable experience with musical maps through other previous listening experiences and through working with puzzle cards. The have experience with a wide variety of ways to represent musical sound.

First,
students learn that they are about to work on their own maps from scratch. Take a look at a new “complete” map as a model. For this I used a map I made of an excerpt from Ravel’s “Love for Two Cats” (excerpt 0:00 - 0:40). Students would listen and trace it in the air to see if they could “figure out” my map. Students would take turns tracing it on the paper (as they would later do for their own maps) and discuss what they hear in the music.

Next, students work on one or two Incomplete Musical maps.

Students listen to the music they will be working on for their own maps. For 5th graders, they all used the same music. For older students, you might allow them to choose their own music from selected appropriate examples.
For my younger students, they created maps for Mussourgsky’s “Ballet of the Unhatched Chicks.”

There are many examples on YouTube. LISTEN

To foster a holistic understanding of the music, we first listened to the music in its entirety and figured out the Form of the piece. Because I have learned (as a teacher-researcher) how much my students valued the use of gesture,
I encouraged several more listenings, encouraging them to “draw” the music in the air with an imaginary pencil. We did this until they were able to hum the music while “drawing.” At this point, they were ready to begin to transfer imaginary drawings to paper. (HINT: do not skip this step with gesture/drawing in the air. It is a key to student success!)
Students worked with a partner or in groups of 3-4 students to make a “rough draft” of their map. Because some students were overwhelmed with that prospect, they were only required to complete the “A” section (we had already determined what the sections were). Most students, however, completed both the A and B sections. Please note that students are listening to the music continually throughout this entire process and at this point, you may want to offer smaller excerpts.

Later, the students would transfer their rough copies onto long sheets of paper and could add color with markers (start with pencils!). Again, the music is listened to continually.

The final step is for students to share their maps with their peers by pointing to them as the music is heard.

Here are some examples of maps created by 5th graders while listening to “Ballet of the Unhatched Chicks.” See videos below.

Here's another one.

And one more.

VIDEOS of 5th graders tracing their own musical maps (Ballet of the Unhatched Chicks)

VIDEOS of secondary students tracing their maps (student selected musical examples).

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Students love creating their own maps. However, students need the scaffolding of the prior experiences with musical mapping that you can provide in your classroom. The experience of student - created...

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Experience the Chicago Symphony Orchestra

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The Boy and the Violin
The Boy and the Violin tells of a boy's bravery and resiliency through music-making.
Story and Music Lesson
Spotify Playlist

The Bremen Town Musicians The musicians of The Bremen Town Musicians find the courage to leave their homes and join their voices together to become a wonderful ensemble.

The Elves and the Shoemaker The Shoemaker and his wife learn that life is better and richer when they let new people into their lives.

Goldilocks and the Three Bears
Goldilocks and Little Bear both learn to be wise of new places, and to find what's "just right".
Story and Music Lesson
Spotify Playlist

Jack and the Beanstalk
Jack learns that even though he's small, he stand up to his fears and be brave.
Story and Music Lesson
Spotify Playlist

The Little Red Hen
The animals learn that, rather than being selfish, they can say "I'm sorry" and help one another to create a caring community.
Story and Music Lesson
Spotify Playlist

Stone Soup
The townspeople learn that everyone has a unique contribution to make to improve their community.
Story and Music Lesson
Spotify Playlist

The Three Little Pigs
The pigs each work at their own speed, and by working together - each how they work best - they're able to build a strong house of brick that the wolf cannot destroy.
Story and Music Lesson
Spotify Playlist

The Ugly Duckling
We should value people for their inner beauty, because we cannot evaluate others on appearances alone.
Story and Music Lesson
Spotify Playlist

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Teaching Resources | Chicago Symphony Orchestra

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The Boy and the Violin The Boy and the Violin tells of a boy's bravery and resiliency through music-making. Story and Music Lesson Spotify Playlist The Bremen Town Musicians The musicians of The Bremen Town Musicians find the courage to leave their homes and join their voices together to become a wonderful ensemble.

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Home

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​Follow the listening guide as you listen to the music.

The Hut on Fowl's Legs (Baba Yaga)3:53

​This listening guide was inspired by a map created by Debbie Tannert for arts education IDEAS 2000.

​​​​Make Joyful Sound 2017

contact Judy@makejoyfulsound.org

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Mussorgsky's Pictures at an Exhibition: Baba Yaga

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Danse Macabre Listening Map -  Camille Saint-Saëns

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Plink - an interactive way to play with sound

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Plink - an interactive way to play with sound

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The New PLINK! is the long overdue update of #plink by @DinahmoeSTHLM. Jam with friends and strangers all over the world.

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Carl Sandburg Music

Hi Carl Sandburg Musicians! Have fun exploring and making music at home! ❤️Mrs. Doty 🎵

On the left is a playlist of videos from Mrs. Doty's YouTube Channel. On the right is a playlist of some other videos that Mrs. Doty likes.

Build a Snowman Rhythm Game

Click on the hat to hear a rhythm, then click on the matching snowball. If you are correct, the snowman will magically build itself.

Ta, TiTi, Rest version for 1st graders and 2nd graders. ⛄

Half note version for 3rd graders and 2nd graders who want a challenge. 😊

Below are some of Mrs. Doty's favorite websites to create and learn about music. Feel free to explore these for some fun activities!

Create music by dragging the mouse (or your finger) across the screen. You can play by yourself by clicking "Go Private!" or with other players by clicking "Play Now!" (Parents - no information is shared with others. Players are given a randomly generated username.)

There are lots of fun things to explore on this site! Create songs, rhythms, and even do music related experiments.

Create your own music with a crew of beatboxers. There are 4 different free styles to play with, and 3 app exclusives. (The app is $3.99)

Use this virtual glockenspiel to play songs you already know or make up a new one!

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Hi Carl Sandburg Musicians! Have fun exploring and making music at home! ❤️Mrs. Doty 🎵

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Line Rider #27 - The Four Seasons, Summer/"Storm" (Vivaldi)

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What is Texture in Music?

What is texture in music? Texture in music, and what it means in music, is quite different to what most people think texture means in everyday life. When you think of the texture of something, most often you will think of how a surface feels. Is it rough, is it smooth, or maybe cold, wet, dusty, or even metallic. But these words are not what we use to describe what is texture in music.

What does Texture in Music Mean?

So, what does texture in music mean? Texture in music refers to the number of musical lines and their density in a piece of music. In other words, texture in music is the relationship between the layers of sound or lines or voices. Some people will use the term "layers of sound" interchangeably with Texture.

Texture in music can be described using several terms, but the simplest ones are in describing the density of the music. The density, or the texture in music, in a piece of music with only a few instruments playing, could be described as light, thin, or even sparse. The density of a large group of instrument playing could be heavy, dense, think or even compact. The texture will depend on the number of instruments playing at any given time as well as how those instruments are being performed.

When you are discussing, performing, or studying, what is texture in music, there are a few main points to consider. These come under the broader headings of identify the instruments, density, what type of "phony" is being used, and lastly to use a diagram to demonstrate what is the texture and structure of the music.
If you would like a copy of the Elements of Music Mind Maps used in this blog post, click here her for your FREE download.
Identify the Instruments

When you are trying to work out the texture of a piece of music, one of the first things you will need to do is list the instruments performing in the music. There are a few ways to do this. You could listen for each instrument, you could watch a live performance of the music, or you could look at the musical score.

Once you have listed the instruments, it will be easier to work out the overall texture if you work out the overall structure being used. Then, try and list the instruments performing in each section. With your sections written down, it should be a less complicated process to discuss the role, range and register of each instrument in the music. Knowing what each instrument is doing in each section, will also help you to determine other aspects of what is the texture in the music you are studying.

Role of an Instrument

There are four main roles that an instrument can perform in any section of a piece music. Please note that not every piece of music will have an instrument in each of these roles.

Melody - this is defined as a series of pitches that form a tune. The melody, or main melody, is the part that is most memorable and is often the part you sing along to in the music.

Beat - an instrument that performs the beat is often a drum or percussion instrument. The beat is defined as performing the underlying pulse of the music and helps the listener to hear the tempo of the music.

Melodic Accompaniment - the melodic accompaniment is performed by any pitched instrument that is not performing the melody but plays along and supports the melody. For example, if there was someone singing, and a guitar strumming the chords, then the guitar would be the melodic accompaniment and the melody would be sung by the vocalist.

Rhythmic Accompaniment - these are any instrument that performs with and supports the beat. These could be like a tambourine or shaker that plays a rhythmic pattern to accompany the drum kit that is playing the beat. The bass guitar, or double bass, are also often part of the rhythm section or rhythmic accompaniment. Even though the bass plays pitched notes, they often are in time and playing on the beat with the drum kit.

Describe the Density

The density of the music will depend on three main factors. The first being what instruments are performing? Secondly, what type of ensemble is performing the music? And lastly, how are the instruments performing in each section?

When discussing what is texture in music, it will help if you can work out first, what is the structure of the music. Knowing the different sections will help you later figure out what is happening with the texture in each section. Once you know the musical structure, you can then start to work out what is the texture. When you are listening, or looking at a musical score, determine what instruments are performing in the music, then what instruments perform in each section.

It also helps to know what type of ensemble is performing the music. If for example it is an orchestra, then the overall texture and density will be vastly different to the texture of a duet! Is it a choir, or rock band, or jazz big band performing? Knowing the answer to this question will help you to be able to describe the density of the music.

After you have all the information you need about the number of layers of sound in the music, it will be easier to describe the density of each section, or the texture of the overall music. There are several adjectives that you can use to describe the density in the music. These include - light, airy, open, thin, medium, thick, dense, heavy, closed, wide, spacious, tight, and close. Feel free to add to this list!

The density of the music will not only depend on how many instruments are performing in any given section, but on HOW those instruments are performing. The other Elements of Music, and how they are used in the music, will contribute to the differences in Texture. For example, you can have two quartets playing the same music, but each could have a hugely different density or thickness in sound.

If for example, there was a string quartet performing the same music as a rock quartet, the music could sound quite different simply because of the type of instruments performing as well as the way those instruments are played. In the two samples below of the song "Scar Tissue", the texture is essentially the same in number of layers playing, but they sound different to each other. The original by the Red Hot Chilli Peppers, has a heavier sounding density because of the bass guitar and drum kit, whereas the string quartet version by Vitamin String Quartet, has a much lighter sounding texture.

Type of "Phony"

Before you read any further, please note that "phony" is not a real word! It is just a term used to help group the different texture definitions used to describe the type of texture in a piece of music. Below is a list of the music terms and definitions for texture.

Monophonic - a single, unaccompanied melodic line

Homophonic - melody with accompaniment

Polyphonic - more than one melody performed at the same time

Heterophonic - two melodies that follow each other, but with more ornamentation in the main melody

To help you better understand and make sense of these terms and definitions for texture, consider the following texture descriptions of different versions the popular children's song "Frere Jacques".

If there was a group of people singing the song, together, in unison, with no other accompanying instruments, then the texture of the music would be monophonic.

Now, if the same song was sung, by several people, and there was someone strumming along with a guitar, playing a chordal accompaniment, then the texture would now be homophonic.

To make the same song polyphonic, the song could be sung by several voices, all starting the song at a different time, and singing the song in a "round" (see the definition below).

To change the texture into heterophonic, would mean, for example, several voices singing the song, a guitar strumming away, and a solo voice singing the melody with lots of fancy vocal flourishes and embellishments over the top of the simply sung melody by the group!

There are a few other important musical terms and definitions that you should know to help you deepen your understanding of what is texture in music.

Round or Canon - the same melody that starts at different points by another voice or instrument.

Fugue - a piece of polyphonic music where each line has a turn at the main theme, then returns to accompany the main theme. Below is Fugue in G Minor by Bach

Unison - the same melody performed by several voices or instruments at the same pitch

Doubling - the same melody either performed by two different instruments in unison OR two similar instruments an octave apart

Another way to discuss the different layers of sound, or how each musical line contributes to what is texture in the music, is to know in what direction each line is going. Below are some texture terms and definitions to help you.

Similar Motion - two melodic lines with the same melodic contour

Parallel Motion - two melodic lines with the same melodic contour

Contrary Motion - two melodic lines that move in opposite directions

Counterpoint - A type of polyphonic music where each line has its own melody and moves independently of other instruments OR voices. Below is a counterpoint "mash up" of Queen and Stevie Wonder. The two songs combined are Another One Bites the Dust and Superstition!

Texture in Music Diagram

There are many ways to write and notate music. One way to represent the texture of a piece of music, is to use a texture chart that uses a diagram that is like a graph in mathematics. To create a texture diagram, or texture chart, first work out the instruments performing, then determine the different sections of the music.

Once you have these two things worked out, create a graph with the instruments listed up one side of the graph, and the different sections of the music along the bottom. Lastly, after you have worked out what instruments are playing in each section, add this information to your texture chart. Look at the example below to help you create your own for the music you are studying.

Texture is an especially important Element of Music. The way a piece of music uses each of the Elements of Music, contributes to the overall texture of the music.

If the music for example, has lots of voices singing close harmonies, then the texture could be described as "tight". On the other hand, if the melody is sung by more than one voice, and is supported with a large ensemble, then the density and texture of the music could be quite thick and rich.

In contrast, if the music has lots of distorted timbres from a heavy distorted rhythm guitar, and another electric guitar performing with a crunchier timbre, and then these are accompanied by a drum beat that has the drummer using a double kick, and the bass player performing a very rhythmic bass riff, then the overall texture could be described as dense and heavy. This would be because there is a lot going on, all the time. The sound and timbre of each instrument contributing to the overall density and heaviness of the music.

The Elements of Music do not work in isolation. Each of the 8 Elements of Music, works with the others to make each piece of music unique and different. The texture of any piece of music, depends on the other elements of music, and how they are used.

The number of instruments performing, the structure of the music, the techniques used to make a sound on the instrument, the tonality and harmony used to accompany and support the melody, the dynamics used in each section, as well as the rhythms used in combination with each instrument, all combine to create to make what is the texture in the music.

Next time you are listening to a piece of music, try and listen for the number of instruments and what roles they are performing. Then ask yourself what is the overall density of the music? What is the type of texture being used? Does the density or type of texture change between sections? How does the way the other Elements of Music are used contribute to the texture of the music? Try to map the texture of the music and see if it helps you understand the changes in the texture in the music.

As a musician, think about ways that you can use the Element of Music - Texture, to improve your next performance. Can you alter the "feel" of the texture by playing in a different way? Can the texture be changed by adding or taking away an instrument? Maybe you can change the textural density by simply changing the dynamics from loud to soft, or vice versa?
If you would like a copy of the Elements of Music Mind Maps used in this blog post, click here her for your FREE download.
If you would like to know how to use the Texture Mind Maps in your classroom or as a study tool, watch the video below!

Until next time

Julia from Jooya

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What is Texture in Music? - Jooya Teaching Resources

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What is texture in music? Texture in music, and what it means in music, is quite different to what most people think texture means in everyday life. When you think of the texture of something, most often you will think of how a surface feels.

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How were these built?

All our experiments are all built with freely accessible web technology such as Web Audio API, WebMIDI, Tone.js, and more. These tools make it easier for coders to build new interactive music experiences. You can get the open-source code to lots of these experiments here on Github.

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Music is for everyone. Play with simple experiments that let anyone, of any age, explore how music works.

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Students will create a general timeline of the history of music including genres and songs. They will also be introduced to words we use to express “before” and “after”.

Teaching Duration

30 minutes

Standards

to see state-specific standards (only available in the US).

Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

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Students will create a general timeline of the history of music including genres and songs. They will also be introduced to words we use to express "before" and "after". ...

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By clicking “Accept All Cookies”, you agree to the storing of cookies on your device to enhance site navigation, analyze site usage, and assist in our marketing efforts.

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“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music.” ― Albert Einstein

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How were these built?

All our experiments are all built with freely accessible web technology such as Web Audio API, WebMIDI, Tone.js, and more. These tools make it easier for coders to build new interactive music experiences. You can get the open-source code to lots of these experiments here on Github.

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Music is for everyone. Play with simple experiments that let anyone, of any age, explore how music works.

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As our computers get more powerful, now you don't even need to download anything to start making music. Simply visit the sites listed below and get the musical creativity flowing straight away using only your browser and your imagination.

CLIP specialise in working with young people and we're aware of the requirements this brings. As such, all of the sites listed below require no signup/login process or even software downloading - they're simply browser based tools that are free to use.

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Fun and free websites for making music online - CLIP

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As our computers get more powerful, now you don't even need to download anything to start making music. Simply visit the sites listed below and get the musical creativity flowing straight away using only your browser and your imagination. CLIP specialise in working with young people and we're aware of the requirements this brings.

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Melody Jams is the awesome new way to become a rock star! Mix and match your favorite characters in fun combinations to create your own songs, then jump in and play along! Join your Melody Jam band on the road to meet new friends, play new instruments, and experience the fun of making music with others. What are you waiting for, get out there and jam!

Stay posted as we extend the Melody Jams tour by creating new jams,discovering new instruments, and making new friends!

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Melody Jams is the awesome new way to become a rock star! Mix and match your favorite characters in fun combinations to create your own songs, then jump in and play along! Join your Melody Jam band on the road to meet new friends, play new instruments, and experience the fun of making music with others.

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A fun, interactive music experience
Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers.Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

Where making music is child's play!

Part game, part tool, Incredibox is above all an audio and visual experience that has quickly become a hit with people of all ages. More than 80 million players worldwide have already enjoyed it. The right mix of music, graphics, animation and interactivity makes Incredibox ideal for everyone. And because it makes learning fun and entertaining, Incredibox is now being used by schools all over the world.

Create a mix

Drag and drop icons onto the avatars to make them sing and start to compose your own music. Find the right sound combos to unlock animated choruses that will enhance your tune.

Share it

Once your composition sounds great, just save it and you will get a link to your mix. You can easily share it with anybody so they can listen and even vote for it.

Be a legend

If you share your mix a lot and get enough votes from other users, you may go down in Incredibox history by joining the Top 50 chart. Ready to show your stuff?

Ready to lay down
your mix?

';

Sign up for news!

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Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers. Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

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Introduction

In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices. For example, a thick texture contains many "layers" of instruments.

In musical terms, particularly in the fields of music history and music analysis, some common terms for different types of texture are:

We will focus on monophony, polyphony, and homophony in this course.

Formal Terms

There are many informal terms that can describe the texture of a piece of music (thick, thin, bass-heavy, rhythmically complex, and so on), but the formal terms that are used to describe texture all describe the relationships of melodies and harmonies. Here are definitions and examples of the four main types of texture. For specific pieces of music that are good examples of each type of texture, please see below.

Monophonic

Monophonic music has only one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line that has specific pitches. Monophonic music can also be called monophony. It is sometimes called monody, although the term "monody" can also refer to a particular type of solo song (with instrumental accompaniment) that was very popular in the 1600s.

Examples of Monophony

One person whistling a tune

A single bugle sounding "Taps"

A group of people all singing a song together, without harmonies or instruments

A fife and drum corp, with all the fifes playing the same melody

Listen: Monophony

Listen for the cello performing a single melody in Bach's Cello Suites.

Listen to the monophony in "Llibre Vermell de Montserrat [Catalonia, 14th Century]: Advocatam innocemus" by Namur Chamber Choir.

Homophonic

Homophonic music can also be called homophony. Describing homophonic music you may hear such terms as chords, accompaniment, harmony or harmonies. Homophony has one clearly melodic line; it's the line that naturally draws your attention. All other parts provide accompaniment or fill in the chords. In most well-written homophony, the parts that are not melody may still have a lot of melodic interest. They may follow many of the rules of well-written counterpoint, and they can sound quite different from the melody and be interesting to listen to by themselves. But when they are sung or played with the melody, it is clear that they are not independent melodic parts, either because they have the same rhythm as the melody (i.e. are not independent) or because their main purpose is to fill in the chords or harmony (i.e. they are not really melodies).

Examples of Homophony

Choral music in which the parts have mostly the same rhythms at the same time is homophonic. Most traditional Protestant hymns and most "barbershop quartet" music is in this category.

A singer accompanied by a guitar picking or strumming chords.

A small jazz combo with a bass, a piano, and a drum set providing the "rhythm" background for a trumpet improvising a solo.

A single bagpipes or accordion player playing a melody with drones or chords.

Listen: Homophony

In Mozart's Piano Concerto No. 21, Andante ("Elvira Madigan"), listen for one independent melodic line accompanied by other voices or instruments.

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Polyphonic

Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more than one independent melody is occurring at the same time, the music is polyphonic.

Examples of Polyphony

Rounds, canons, and fugues are all polyphonic. (Even if there is only one melody, if different people are singing or playing it at different times, the parts sound independent.)

Much Baroque music is contrapuntal, particularly the works of J.S. Bach.

Most music for large instrumental groups such as bands or orchestras is contrapuntal at least some of the time.

Music that is mostly homophonic can become temporarily polyphonic if an independent countermelody is added. Think of a favorite pop or gospel tune that, near the end, has the soloist "ad libbing" while the back-up singers repeat the refrain.

Listen: Polyphony

Bach's Fugue in D Major is a good example of polyphony, listen for four voices occurring at the same time. Each voice is an imitation of the other, entering the piece with the same melody.

Heterophonic

A heterophonic texture is rare in Western music. In heterophony, there is only one melody, but different variations of it are being sung or played at the same time.

Heterophony can be heard in the Bluegrass, "mountain music", Cajun, and Zydeco traditions. Listen for the tune to be played by two instruments (say fiddle and banjo) at the same time, with each adding the embellishments, ornaments, and flourishes that are characteristic of the instrument.

Some Middle Eastern, South Asian, central Eurasian, and Native American music traditions include heterophony. Listen for traditional music (most modern-composed music, even from these cultures, has little or no heterophony) in which singers and/or instrumentalists perform the same melody at the same time, but give it different embellishments or ornaments.

Listen: Determine the Texture

Determine the texture (monophonic, homophonic, or polyphonic) in each piece of music:

G. B. Pergolesi, Stabat Mater in F minor, arranged by J. S. Bach on the text of Psalm 51: "Tilge, Höchster, meine Sünden," BWV 1083, c. 1746.

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In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices.

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Varies with the type and size of the material producing the sound (the larger -- the lower, the smaller -- the higher)

Varies with different types of instruments within the instrument families and with different types of voices

Can be described using adjectives such as sharp, dull, bright, hallow, full, etc.

The bigger the instrument, like the Tuba, the lower the sound produced. The smaller the instrument, like the Piccolo, the higher the sound produced.

When singing, there are different voices that encompass the the range of the piano, from the lowest, the Bass singers to the highest singers, Soprano singers.

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Varies with the type and size of the material producing the sound (the larger -- the lower, the smaller -- the higher) Varies with different types of instruments within the instrument families and with different types of voices Can be described using adjectives such as sharp, dull, bright, hallow, full, etc.

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What is Tempo in Music?

Tempo describes the speed of the pulse/beat of a piece of music.

The choice of tempo (speed) of a piece of music has a crucial bearing on its feel and even the genre it sits in. For example, there are some styles of music which have specific tempos - e.g. romantic ballads tend to have a fairly slow tempo, whilst disco music tends to have a fast tempo.

To work out the tempo of a piece of music you are listening to you need to have a clear sense of the beat.
Have a listen to the following example of 3 different short extracts of music.
The extracts sound different, but the tempo of each piece is the same:

Be careful not to confuse tempo with the number of beats in a bar - this is described by the time signature.
Also, be careful not to think that tempo is a description of how "busy" or short the rhythms are.
The rhythms in the 3 audio examples above are very different, but the beat/pulse remains the same.

When you're reading a piece of sheet music there are 2 main things you need to look out for at the start of the piece in order to work out the tempo:

Tempo Markings and/or Metronome Markings

Tempo Markings

The speed/tempo of a piece in traditional music notation is given with an Italian word called a tempo marking.
Tempo markings are written above the stave at the start of a piece of music.
Here are some examples of tempo markings that you will commonly find in sheet music:

Grave means Slow and Solemn

Lento/Largo means Very Slow

Adagio means Slow

Andante means Walking Pace

Moderato means Quite Quickly

Allegro means Fast

Presto means Very Fast

The tempo markings give a description of the tempo of the piece rather than an exact bpm (beats per minute).
As a result, the actual speed of each tempo marking is open to interpretation.
However, over time musicologists have agreed general ranges of bpm which the tempo markings refer to.
For example, the bpm of andante (walking pace) is recognised as being between 76 and 108 bpm.

Here is a summary chart of the most common tempo markings with their definitions and bpm ranges:

Tempo Markings Examples

Let's have a look at some common tempo markings in the context of a worked example.

Have a look at the following piece of music (it is a traditional folk song called "Country Gardens").
You can see that the tempo marking Allegro has been written at the start of the piece.
The definition of Allegro is fast and so the piece should be played at a fast tempo.
Have a look at the sheet music and listen to the allegro tempo example:

Presto

The piece of music works well at an allegro tempo.
However, we could change the tempo marking at the start of the piece to Presto.
The musical definition of Presto is Very Fast and so the performer would play the piece at a very fast tempo.
The bpm range for presto is 168-200bpm.

Prestissimo

We could choose to have the piece played even faster by using the tempo marking Prestissimo. Prestissimo means very very fast!
The bpm range for prestissimo is over 200 bpm!!
Have a listen to how the piece sounds with a prestissimo tempo:

Moderato

Alternatively, we could choose to have the piece played slower.
The marking Moderato means moderately quick.
The bpm range for moderato is 108-120 bpm.

Andante

We can slow it down further by using the word Andante.
The definition of Andante is walking pace.
The bpm range of Andante is 76-108 bpm.

Adagio

Here is the piece with a tempo marking of Adagio.
Adagio means slowly.
The bpm range of Adagio is 66-76 bpm.

Lento and Largo

The words Lento and Largo both mean very slowly.
The bpm range of Lento/Largo is 40-60 bpm.
Here is the piece played with the tempo marking Lento:

Grave

Finally we could slow the piece down to a very slow tempo using the marking Grave.
The music definition of Grave is slow and solemn.
The bpm range of Grave is 20-40 bpm.
You can here that this is indeed a very slow tempo!

You can hear from these examples how the choice of tempo makes a huge difference to the feel and performance of a piece of music.

Metronome Markings

In recent years the tempo of a piece has more commonly been given through an indication of the bpm or beats per minute. You may see something like this....

This would mean that the quarter note (crotchet) pulse/beat of the piece is 120 beats per minute.
In other words, there are 120 quarter note (crotchet) beats in a minute.
This is called a metronome marking.
A metronome marking could also be written using an eighth note (quaver), sixteenth note (semiquaver), etc..
Have a look at this example of a metronome marking that uses an eighth note:

In this example the eighth note (quaver) pulse of the piece is 60 bpm.
This means that there are 60 eighth note (quaver) beats in a minute.

The metronome marking method is a very precise way in which a composer can specify which tempo a piece should be played at.
It is particularly useful in the contemporary music world where significant amounts of technology are used and effects such as delay pedals sometimes need to be synchronised to a specific tempo.

Changing Tempo in Music

Sudden Tempo Changes

If a composer wants a piece of music to change immediately to a new tempo then they will insert a new tempo marking or metronome marking at the relevant point. Have a look at this example:

At the beginning of this example the composer has written Adagio (meaning slowly). Therefore, the piece should be played slowly.
However, at the beginning of the new line they have written Allegro (meaning fast). This means that they want you to play the next 4 bars at a fast tempo.

Slowing Down/Speeding Up

Alternatively, a composer may want to introduce subtle changes in the tempo to help inject life into a piece.
These can be shown by using various words:

After one of these markings, the phrase a tempo is written to tell the performer to return to the original tempo.

Have a look at/listen to the example below.
Can you see how the tempo of the music is Andante (walking pace) at the start of the piece.
The piece then slows down during the 4th bar with the tempo marking rall. (which means slow down).
The tempo marking a tempo at the start of the new line tells us to return to the original tempo (andante) at this point. The slowing down is quite subtle in the 4th bar, but it adds some life to the performance.

Subtle Tempo Change Example

Rubato

If you see the tempo marking Rubato at the start of a piece this means that the composer is encouraging you to vary the tempo as you play it. This is a great technique for bringing more expression into the piece particularly by slowing dow the ends of phrases. However, be careful that you don't over do this - less is often more!!

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Tempo describes the speed of the pulse/beat of a piece of music. The choice of tempo (speed) of a piece of music has a crucial bearing on its feel and even the genre it sits in. For example, there are some styles of music which have specific tempos - e.g.

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Sehr gute Introduktion zur Noten lesen für P1-3

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Sehr gute Introduktion zur Noten lesen für P1-3

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Simone Ludwig | Floh im Ohr TV | Kindermusik

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Spielend Noten lernen - Für Kinder leicht erklärt - Online Musikunterricht mit den NOTENSCHNUTZIES

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Gut für P4-P5

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Mit Notenlinien, dem Notensystem und den Notennamen startet die Einführung in die Geheimnisse des Notenlesens.

Für viele scheint es tatsächlich eine völlig geheimnisvolle Sprache zu sein – unverständlich mit eigenartigen Regeln.

Mit folgenden Übersichten und verständlichen Erklärungen wird es Dir hoffentlich leichter fallen, Noten lesen zu lernen.

Um es einfach zu halten, wurde auf Hintergrund-Informationen verzichtet – mehr z. B. zur Entstehung der Notation gibt es hier auf Wikipedia).

Das Notensystem

Notenlinien als Basis für das Notensystem

Noten werden grundsätzlich in Notenlinien eingetragen. Befindet sich ein Notenkopf im oberen Bereich der Linien, steht er für einen höheren Ton. Je weiter oben oder unten ein Notenkopf steht, umso höher bzw. tiefer ist der Ton. Wo sich der Kopf einer Note befindet, entscheidet also über die Tonhöhe. Der Notenkopf kann sich direkt auf einer Linie oder zwischen zwei Linien befinden.

Wenn die 5 Linien nicht ausreichen, wird das System durch zusätzliche „Hilfslinien“ ergänzt.

Hier die 5 Linien als Grundlage für das Notensystem und damit die Notenschrift:

Beispiele:

Notenlinien sind wie eine „Leiter“

Und tatsächlich haben wir hier eine Leiter – eine Tonleiter!

Die Lage der Notenköpfe und auch der Töne geht in unserem Beispiel der C-Dur-Tonleiter Schritt für Schritt nach oben. Die „nächste Stufe“ liegt entweder auf einer Notenlinie oder im Zwischenraum. Es wechselt also beim Aufstieg immer: Linie, Zwischenraum, Linie, Zwischenraum …

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✔ Teste Dein Wissen!

Notenschlüssel im Notensystem

Mit 5 Notenlinien und den Hilfslinien lassen sich leider noch nicht alle wichtigen Töne darstellen.

Sogenannte Notenschlüssel am Anfang zeigen, in welcher Tonhöhe  die Noten insgesamt zu spielen sind, d. h. in welcher Höhe sie tatsächlich klingen sollen.

Hier die zwei wichtigsten Notenschlüssel:

Der Violinschlüssel

Der Bassschlüssel

Vielleicht wird es durch folgende vereinfachte Vorstellung deutlicher:

Was hinter einem Violinschlüssel steht, könnte eher von einer Frau (in einer eher höheren Stimmlage) gesungen werden.

Die Noten hinter einem Basschlüssel, könnten eher von einem Mann (in einer tieferen Stimmlage) gesungen werden.

Hier siehst du, wie sich durch den Violin- und den Bassschlüssel alle wichtigen Tonhöhen von Musik darstellen lassen:

✔ Teste Dein Wissen!

Die Notennamen

Durch einen Notennamen erhält jede Note eine genaue Bezeichnung.

Diese gibt auch ohne eine Darstellung im Notensystem die genaue Tonhöhe an.

Die Notennamen a, b, c, …

Die Bezeichnung der Noten orientiert sich an 7 bekannten Buchstaben des Alphabets:

a – b – c – d – e – f – g …

Allerdings gibt es im deutschsprachigen Raum ein Besonderheit: statt „b“ wird  immer die Bezeichnung „h“ verwendet! Dennoch hilft das Alphabet schon einmal ganz gut beim Herleiten der Notennamen.

Die Noten werden im deutschsprachigen Raum also folgendermaßen bezeichnet:

a – h – c – d – e – f – g …

ACHTUNG bei Notennamen: Das „Noten-Alphabet“ beginnt mit C!

Das macht es leider etwas schwieriger …

Auch wenn das eigentliche Alphabet mit „a“ anfängt, orientiert sich das Notensystem stark am Buchstaben „c“.

Daher lass A und B am Anfang weg und präge Dir ein:

c – d – e – f – g – a – h – c …

Das sind sie: die wichtigsten Bzeichnungen, die wichtgsten Notennamen! Wenn Du sie noch nciht sicher aufsagen kannst – gleich noch einmal wiederholt:

c – d – e – f – g – a – h – c (Einprägen! Lernen! Ganz wichtig!)

Diese Notennamen findest Du auch bei der berühmten C-Dur-Tonleiter!

Und diese Notennamen bilden die Grundlage für alle anderen Noten!

Wir bezeichnen Sie hier mal als Stamm-Noten-Namen.

Hier siehst du, wo du die Stamm-Noten der C-Dur-Tonleiter auf einer Klaviertastatur findest.

Schau Dir hier das Video zu den Stammnoten (Basisnoten) an!

✔ Teste Dein Wissen!

✔ Teste Dein Wissen!

Kennst Du die richtige Taste auf dem Klavier?

Mit diesen sieben/acht (Stamm)-Notennamen lassen sich natürlich noch nicht alle Tonhöhen der Musik abdecken. Logisch!

Beim Blick auf die Klaviertastatur wird klar: es müssen zusätzliche Bezeichnungen her. Vom tiefsten Ton links bis zum höchsten Ton ganz rechts sind es 88 Tasten – richtig, es müssen insgesamt 88 Töne benannt werden.

Wir beschäftigen uns zunächst aber nur mit den weißen Tasten! Zum Glück sind es dann „nur“ 52 … also schauen wir uns die Notennamen der 52 weißen Tasten an:

Wiederholung der Notennamen

Wie Du sicher bemerkst: Die Bezeichnung der Noten wiederholt sich wieder und wieder (genauso, wie übrigens auch die Anordnung der Tasten auf einem Klavier. Das wird im nächsten Absatz deutlich:

Unterscheidung der Notennamen

Zur exakten Unterscheidung werden die Noten noch mit zusätzlichen Zahlen versehen bzw. durch Groß- und Kleinschreibung unterschieden.

Die wichtigsten Notennamen

Für schon richtig gute Notenkenntnisse ist der „mittlere“ (unten größer dargestellte) Bereich aus knapp 30 weißen Klaviertasten ausreichend.

Und den sehen wir uns jetzt genauer an.

Diese 4 Oktavbereiche decken die meisten Noten ab (Oktave=acht: Zwischenraum von 8 Tönen). Mit der eindeutigen Bezeichnung der Noten über diese 4 Oktavräume stehen die wichtigsten Notennamen fest. Sie bestehen aus den Buchstaben

c, d, e, f, g, a, h. Durch entsprechende Zusätze wird die Unterscheidung je nach Tonhöhe möglich.

große Buchstaben = sog. „Große“ Oktave
kleine Buchstaben = sog. „Kleine“ Oktave
kleine Buchstaben + 1 = sog. „eingestrichene“ Oktave
kleine Buchstaben + 2 = sog. „zweigestrichene“ Oktave

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Um welche Oktave handelt es sich?

Weiter zu Wissen 2: Takt, Noten-/Pausenwerte und Rhythmus

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♫ Wissen 1: Notensystem und Notennamen | Noten lesen lernen

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Das Notensystem und die Notennamen sind kein Geheimnis. Mit verständlichen Erklärungen und klaren Übersichten kannst Du hier ins Notenlesen einsteigen.

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Brass instruments, also known as labrosones, which accurately means ” lip-vibrated instrument”, they create sounds with the reverberation and amplification of the vibration of the lips through a…