Phrasing is one of the most important elements of music. Phrasing defines the way the audience perceives certain passages and  can make a piece a great one or an awkward one. Phrasing is sometimes defined within sheet music and sometimes left up to the musicians.

When you say something with spoken language, you join the words together in what’s called a sentence, which is made up of individual phrases. The phrases have their own meaning and work together to make your point clear. The same is true in music. A musical phrase is a set of tones that are played together as a unit. Using Beethoven’s Fifth Symphony as an example again, the first two measures of the piece—which form the leitmotiv—constitute one of the most well-known phrases in all of music.

It sometimes takes time to develop a sense for the proper phrasing for any piece. Practice generally makes it apparent, though some musicians alter the phrasing of the pieces they play a bit as a way of interpreting them in a unique way.

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Harmony, Texture and Timbre

Harmony, texture and timbre can define a piece of music as much as the melody and meter can. Tonal harmony is one of the distinguishing characteristics of Western music and it is every bit as important as the melody in moving any piece of music along.

In music, timbre is a term used to describe the quality of the sound. It is also sometimes called tone color. There are both objective and subjective ways to describe timbre but, for most people, the experience is largely subjective. The timbre of the sound of a guitar, for instance, is much different than the timbre of the sound produced by a French horn. While these differences in tone color can be quantified by measuring them with various scientific equipment, aesthetic definitions are usually more important and more descriptive in everyday life.

The term texture, in music, refers to the way that various elements are brought together to create a cohesive whole. The term can also be used in the description of the timbre of an instrument, however. You could say, for example, that the sound of an oboe has a somewhat rough texture to it.

Flute Accessories

With flute world, you are given a wide selection of accessories, from educational and playing aids to gift items, as well as exclusive products designed to meet customer needs.

With accessories, you can better tune your flute or flute instruments to adhere to all of the qualities of music.

For example, you can better demonstrate the sternness of a fermata. Fermatas—which look rather like an eye in notation—are sometimes placed above notes in musical notation. This means to hold the note and it’s often something based on feel rather than mathematical time. A dot to the right of a note means that you add one half of the note’s value to the duration. A quarter note with a dot, for instance, is the equivalent of a quarter note tied to an eighth note. A note with a dot above it is intended to be played staccato, which means that it’s struck sharply and that the note doesn’t necessarily ring out for the full duration.

You can also benefit from flute accessories in terms of harmony and phrasing.

Classical Performances

With flute world, they hold flute events around schools to educate students on selecting their new instruments, locally and nationally. There are different performance types and venues, each with different requirements.

The Formal Performance:

A famous classical guitarist once went on stage and sat down to begin his performance. Before he struck the first note, someone in the audience coughed. He stood up and informed the audience that, when they were ready to listen, he was ready to play. An exaggerated example of formality—and, perhaps, ego—to be sure, but formal performances require certain types of behavior on the part of the audience. There are some general rules that you have to follow at any classical or other formal music performance.

  • Always turn off cell phones
  • Never use any electronic device that produces light or sound
  • Do not speak during the performance

Most often, the musicians you see perform in formal settings will be accustomed to an audience that follows these rules of etiquette. Most musicians will not storm off the stage in the fashion of our offended guitarist, but they will become distracted by noise and a noisy, unappreciative crowd makes it impossible for them to perform up to their highest standards.

Formal music performances sometimes have dress requirements, as well. This is looser in some areas. For example, if you go to an opera in Europe or New York, you have to dress the part, in some cases. This means tuxes for men and gowns for ladies. If you go to an opera in Santa Fe, New Mexico, it’s fine to show up in jeans and it’s fine to tailgate before the performance. You have to know ahead of time what’s expected of you before the performance. Etiquette in performance settings is far more than a formality.

Classical musicians—and other fine arts players—invest a great deal of their lives into perfecting their renditions of very complex pieces. Following the rules of etiquette is a way that the audience shows respect for the musician and respect for what they do. Be sure that you take the time to show performers your appreciation by adhering to the conventions of the venue.

Important: In classical performances, there are traditionally long pauses between the movements of a symphony or the various parts of long form compositions. When it’s time for you to applaud, the conductor will turn to face the crowd. If the conductor doesn’t turn around, they’re still conducting and the ensemble is still playing. Stay quiet.

If you have to get up to use the restroom, do it quickly and don’t ask anyone to get out of your way. They’ll move to accommodate you if you just start walking through the aisle. Some performances do not allow people to come or go while they’re ongoing, so be sure to get refreshments, use the restroom and take care of all other needs before the first note is struck.

Informal Performances:

Informal performances are much looser in their requirements, but can be just as rich in their offerings. Be sure, however, that you do pay attention to what the musicians need from the audience. For example, if you have a friend giving an informal violin recital, make sure that you stay quiet while they’re playing and that you show some class after they’re done by giving them loud applause.

In most settings other than the most formal settings, the rules are very lax. Remember, however, that some informal performances are designed to be participatory and it’s considered poor etiquette to sit out during these elements. If you’re attending a performance by a gospel group, for instance, there may well be call-and-response passages that the audience is expected to participate in. This can be a lot of fun and, if you don’t participate, you haven’t really experienced the music at all.

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Sheet Music

For appraisals, lessons, sheet music, and instruments in MI, Detroit offers great music lessons for the flute. These lessons teach basic concepts that are imperative to understanding and analyzing any music.

Beat rhythm is one of the most definitive aspects of any musical piece. Western music theory tends to prefer measures that are evenly divided into groups of two or three. While this is not universal in world music, it does provide a good framework for understanding, dividing and analyzing any piece of music.

At the beginning of a piece of music, western music notation defines the meter by means of a time signature. This time signature is expressed as a fraction, such as 2/4, 3/4 or 4/4. You will find more complex time signatures in some music, particularly in the experimental music of the 20th Century. By and large, however, most time signatures will simply consist of a fraction. The top number in the time signature denotes how many beats are in a measure and the bottom number denotes what type of note constitutes a full beat. The system is based on quarters, so a bottom number of 1 equals one whole note, a bottom number of 2 equals one half note, 4 equals one quarter note, and so forth. There are two types of meter that define the majority of Western music: simple and compound.

Meter Types

Simple Meter: Simple meter is the term used to describe music meter where the measure can be divided evenly into two equal parts. For example, a measure of 2/4 music can be divided into two beats comprised of one quarter note, hence it is a simple time signature.

Compound Meter: If you can divide a measure of music into even groups of three, the meter is said to be compound. Waltz time is the most famous of these time signatures, and there are many fine examples you can look to so that you can get an idea of how compound meter sounds. Strauss is a particularly good composer to listen to for examples of waltz time, which is mathematically expressed as 3/4 time.

The time signature provides the framework for the beat rhythm, but the note values define it in practice. Western music uses a system based on halves, as explained in relation to the bottom number of the time signature. A whole note constitutes one full beat, a half note one half of a beat, a quarter note one quarter of a beat and so forth. This is combined with the tempo of the piece to arrive at the proper amount of time each note should be sounded for. As an example, a tempo of 60 means that there would be sixty full beats in one minute. If the time signature was 4/4, which means that a quarter note constitutes one full beat, then a quarter note should be sounded for one full second and all other notes should be sounded for a length of time relative to that base measure.

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