Most common words 250-300

Most common words in English: English to German

Most Common Words 3

Most common mispelled words

To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

What Is Rhythm in Music? Rhythm is the pattern of sound, silence, and emphasis in a song. In music theory, rhythm refers to the recurrence of notes and rests (silences) in time. When a series of notes and rests repeats, it forms a rhythmic pattern. In addition to indicating when notes are played, musical rhythm also stipulates how long they are played and with what intensity. This creates different note durations and different types of accents.Why Is Rhythm Important in Music? Rhythm functions as the propulsive engine of a piece of music, and it gives a composition structure. Most musical ensembles contain a rhythm section responsible for providing the rhythmic backbone for the entire group. Drums, percussion, bass, guitar, piano, and synthesizer may all be considered rhythm instruments, depending on the context. However, all members of a music group bear responsibility for their own rhythmic performances and play the musical beats and rhythmic patterns indicated by the piece's composer.7 Elements of Rhythm in Music Several core elements comprise the fundamentals of musical rhythm. 1. Time signature: A musical time signature indicates the number of beats per measure. It also indicates how long these beats last. In a time signature with a 4 on the bottom (such as 2/4, 3/4, 4/4, 5/4, etc.), a beat corresponds with a quarter note. So in a 4/4 time (also known as "common time"), each beat is the length of a quarter note, and every four beats form a full measure. In 5/4 time, every five beats form a full measure. In a time signature with an 8 on the bottom (such as 3/8, 6/8, or 9/8), a beat corresponds with an eighth note. 2. Meter: Standard Western music theory divides time signatures into three types of musical meter: duple meter (where beats appear in groups of two), triple meter (where beats appear in groups of three), and quadruple meter (where beats appear in groups of four). Meter is not tied to note values; for instance, a triple meter could involve three half notes, three quarter notes, three eighth notes, three sixteenth notes, or three notes of any duration. Musicians and composers regularly mix duple and triple meter in their work; Igor Stravinsky's "The Rite of Spring" is a textbook example of such a technique. 3. Tempo: Tempo is the speed at which a piece of music is played. There are three primary ways that tempo is communicated to players: beats per minute, Italian terminology, and modern language. Beats per minute (or BPM) indicates the number of beats in one minute. Certain Italian words like largo, andante, allegro, and presto convey tempo change by describing the speed of the music. Finally, some composers indicate tempo with casual English words such as “fast,” “slow,” “lazy,” “relaxed,” and “moderate.” 4. Strong beats and weak beats: Rhythm combines strong beats and weak beats. Strong beats include the first beat of each measure (the downbeat), as well as other heavily accented beats. Both popular music and classical music combine strong beats and weak beats to create memorable rhythmic patterns. 5. Syncopation: Syncopated rhythms are those that do not align with the downbeats of individual measures. A syncopated beat will put its emphasis on traditional weak beats, such as the second eighth note in a measure of 4/4. Complex rhythms tend to include syncopation. While these rhythms may be more difficult for a beginning musician to pick up, they tend to sound more striking than non-syncopated rhythmic patterns. 6. Accents: Accents refer to special emphases on certain beats. To understand accents, think of a piece of poetry. A poetic meter, such as iambic pentameter, may dictate a specific mixture of stressed syllables and unstressed syllables. Musical accents are no different. Different rhythms may share a time signature and tempo, but they stand out from one another by accenting different notes and beats. 7. Polyrhythms: To achieve a particularly ambitious sense of rhythm, an ensemble may employ polyrhythm, which layers one type of rhythm on top of another. For instance, a salsa percussion ensemble may feature congas and bongos playing 4/4 time, while the timbales concurrently play a pattern in 3/8. This creates a dense rhythmic stew and, when properly executed, it can yield incredibly danceable rhythm patterns. Polyrhythms originated in African drumming, and they’ve spread to all sorts of genres worldwide, from Afro-Caribbean to Indian to progressive rock, jazz, and contemporary classical.

Cells of different organisms and even cells within the same organism are very diverse in terms of shape, size, and internal organization. One theme that occurs again and again throughout biology is that form follows function. In other words, a cell’s function influences its physical features. Cell Shape The diversity in cell shapes reflects the different functions of cells. Compare the cell shapes shown in Figure 4-4. The long extensions that reach out in various directions from the nerve cell shown in Figure 4-4a allow the cell to send and receive nerve impulses. The flat, platelike shape of skin cells in Figure 4-4b suits their function of covering and protecting the surface of the body. As shown below, a cell’s shape can be simple or complex depending on the function of the cell. Each cell has a shape that has evolved to allow the cell to perform its function effectively. SECTION 2 OBJECTIVES ● Explain the relationship between cell shape and cell function. ● Identify the factor that limits cell size. ● Describe the three basic parts of a cell. ● Compare prokaryotic cells and eukaryotic cells. ● Analyze the relationship among cells, tissues, organs, organ systems, and organisms. VOCABULARY plasma membrane cytoplasm cytosol nucleus prokaryote eukaryote organelle tissue organ organ system Cells have various shapes. (a) Nerve cells have long extensions. (b) Skin cells are flat and platelike. (c) Egg cells are spherical. (d) Some bacteria are rod shaped. (e) Some plant cells are rectangular. FIGURE 4-4 (a) Nerve cell (b) Skin cells (c) Egg cell (d) Bacterial cells (e) Plant cells Copyright © by Holt, Rinehart and Winston. All rights reserved. 1. All cubes have volume and surface area. The total surface area is equal to the sum of the areas of each of the six sides (area = length X width). 2. If you split the first cube into eight smaller cubes, you get 48 sides. The volume remains constant, but the total surface area doubles. 3. If you split each of the eight cubes into eight smaller cubes, you have 64 cubes that together contain the same volume as the first cube. The total surface area, however, has doubled again. CELL STRUCTURE AND FUNCTION 73 Cell Size Cells differ not only in their shape but also in their size. A few types of cells are large enough to be seen by the unaided human eye. For example, the nerve cells that extend from a giraffe’s spinal cord to its foot can be 2 m (about 6 1/2 ft) long. A human egg cell is about the size of the period at the end of this sentence. Most cells, how- ever, are only 10 to 50 μm in diameter, or about 1/500 the size of the period at the end of this sentence. The size of a cell is limited by the relationship of the cell’s outer surface area to its volume, or its surface area–to-volume ratio. As a cell grows, its volume increases much faster than its surface area does, as shown in Figure 4-5. This trend is important because the materials needed by a cell (such as nutrients and oxygen) and the wastes produced by a cell (such as carbon dioxide) must pass into and out of the cell through its surface. If a cell were to become very large, the volume would increase much more than the surface area. Therefore, the surface area would not allow materials to enter or leave the cell quickly enough to meet the cell’s needs. As a result, most cells are microscopic in size. Comparing Surface Cells Materials microscope, prepared slides of plant (dicot) stem and ani- mal (human) skin, pencil, paper Procedure Examine slides by using medium magnification (100). Observe and draw the sur- face cells of the plant stem and the animal skin. Analysis How do the surface cells of each organism differ from the cells beneath the surface cells? What is the function of the surface cells? Explain how surface cells are suited to their function based on their shape. Quick Lab Small cells can exchange substances more readily than large cells because small objects have a higher surface area–to-volume ratio. FIGURE 4-5 mb06se_csfs02.qxd 5/18/07 10:54 AM Page 73 74 CHAPTER 4 BASIC PARTS OF A CELL Despite the diversity among cells, three basic features are common to all cell types. All cells have an outer boundary, an interior sub- stance, and a control region. Plasma Membrane The cell’s outer boundary, called the plasma membrane (or the cell membrane), covers a cell’s surface and acts as a barrier between the inside and the outside of a cell. All materials enter or exit through the plasma membrane. The surface of a plasma mem- brane is shown in Figure 4-6a. Cytoplasm The region of the cell that is within the plasma membrane and that includes the fluid, the cytoskeleton, and all of the organelles except the nucleus is called the cytoplasm. The part of the cytoplasm that includes molecules and small particles, such as ribosomes, but not membrane-bound organelles is the cytosol. About 20 percent of the cytosol is made up of protein. Control Center Cells carry coded information in the form of DNA for regulating their functions and reproducing themselves. The DNA in some types of cells floats freely inside the cell. Other cells have a mem- brane-bound organelle that contains a cell’s DNA. This membrane- bound structure is called the nucleus. Most of the functions of a eukaryotic cell are controlled by the cell’s nucleus. The nucleus is often the most prominent structure within a eukaryotic cell. It maintains its shape with the help of a protein skeleton called the nuclear matrix. The nucleus of a typical animal cell is shown in

When Europeans met American Indians in the late 15th century, the people of two continents exchanged many beneficial customs and goods. Europeans received New World crops such as potatoes and corn. American Indians acquired cloth and horses. However, besides the beneficial exchanges, Europeans and American Indians often traded deadly germs–bacteria and viruses–for which they had no immunity. Smallpox and Indians Image 1: Smallpox epidemics helped Europeans conquer the Aztec and Incan Empires of Mexico and South America. North American Indians quickly concluded that contact with Europeans often resulted in devastating diseases that caused widespread death. This drawing, made in the 1500s in Mexico, shows how the disease was passed from a European to an American Indian through simple contact. Many of the diseases that were common in Europe were entirely new to the peoples of North America. Diseases such as tuberculosis and measles could be fatal, but Europeans had developed resistance to the disease, so many people survived. However, when European diseases infected American Indians with no previous exposure, the people suffered terribly. The most devastating of these diseases was smallpox which is caused by a virus (Variola major). Smallpox, like many other diseases, had a latent period of about one week between the time the person was exposed to the disease and the time when signs of the disease became apparent. During this time, the sick person might begin a journey and carry the germs along with him. Anyone the person met would be exposed to smallpox. Anything the victim touched including clothing, bedding, or unwashed dishes carried living germs of smallpox. Cotton Mather Image 2: Cotton Mather was a Boston minister. When smallpox threatened Boston, he remembered reading about how the Turks inoculated people with dried material from smallpox blisters. The inoculation usually gave the person a mild case of the disease and future immunity. The procedure was highly controversial, but it helped save the lives of 274 people who were inoculated during the Boston smallpox epidemic of 1721. Symptoms of the disease began with fever, chills, and aches. The fever might raise a person’s temperature from the normal 98.6o to a dangerous 106o. After four days of misery, the victim entered the second stage when large pustules (fluid-filled bumps) appeared on the body. The rash made the person feel as if their skin were on fire. After suffering with the rash for nine days, the victim entered a new stage-if he or she had survived this long. The pustules opened and dried up. Each pustule formed a scab that turned into a scar that marked the person’s face for the rest of his or her life. Complications of smallpox for those who survived might include loss of vision or damage to the lungs, heart, or liver. Waterhouse Image 3: Dr. Benjamin Waterhouse of Harvard University brought Jenner’s smallpox preventative to the United States. It was called vaccination and used cowpox as the infective material. This much milder form of pox gave immunity to smallpox with fewer complications. Dr. Waterhouse encouraged President-elect Thomas Jefferson to promote vaccination. Jefferson responded, “Every friend of humanity must look with pleasure on this discovery, by which one evil more is withdrawn from the condition of man.” (T. Jefferson 12/25/1800 to Benjamin Waterhouse, December 25, 1800) Historians have found evidence of smallpox as far back as 1157 B.C. when the Egyptian pharaoh Ramses V apparently died of smallpox. From Egypt, where scientists believe smallpox began, the disease spread to Asia. Europeans began to experience periodic epidemics of smallpox in the14th century when Crusaders returning from the Middle East brought smallpox to Europe. People who survived the disease were immune and could not get smallpox again. This fact explains why epidemics struck periodically and the disease was not a constant threat to European societies. Smallpox Vaccination 1803 Image 4: Dr. Edward Jenner’s new smallpox vaccination (from cowpox) was widely accepted. This medical image was published by a Spanish physician to teach colonial doctors how to apply the vaccine to native Mexicans. The scratches were supposed to go through several stages of development as evidence that the vaccine had given the patient immunity. Vaccination was very effective in preventing smallpox epidemics among those who received the vaccine. In 1520, while Cortés was trying to conquer the Aztecs, smallpox broke out among the Spaniards and was transferred to the Aztecs. By 1527, the disease had migrated through Central America to Peru where it helped Pizarro conquer the Incas. (See Image 1.) In 1633, smallpox infected American Indians living near the English colony of Plymouth, Massachusetts. The disease traveled very quickly to tribes living far inland from the English colonies. In 1721, a smallpox epidemic threatened the English colonists of Boston. (See Image 2.) Cotton Mather, a Boston minister, wanted to inoculate people against the disease. He knew that Turkish healers took material from a dried smallpox scab and injected it into the body of a healthy person by scratching the surface of the skin. The patients developed a mild form of the disease from which they recovered. The procedure was highly controversial in Boston where about 280 Bostonians accepted inoculation. The epidemic infected more than half of the people living in Boston at the time. About 15% of those who got sick died of the disease. Among those who were inoculated, only six (2%) died of smallpox. The practice of inoculation spread to other English colonies, but not to the American Indian tribes living near the colonies. Late in the 18th century, British doctor Edward Jenner recognized that people who milked cows never came down with smallpox. They had already been infected with cowpox, a similar, but much milder disease that gave them immunity to smallpox. In 1796, Jenner inoculated a young man with cowpox virus he had collected from a milkmaid. The young man had a mild infection for less than 24 hours and recovered. Jenner’s efforts resulted in a widespread acceptance of vaccination (vaccine comes from Latin words meaning “taken from a cow”). By 1800, many Americans were receiving smallpox vaccinations. (See Image 3.) President Thomas Jefferson supported and encouraged the vaccination program in major American cities. (See Image 4.) By the middle of the 19th century, smallpox was under control, but broke out from time to time among unvaccinated people. Bismarck, Dakota Territory, experienced a small outbreak of smallpox in 1882. American Indians, however, were still subject to the disease in its most dangerous form.

Related quizzes

Related quizzes