Учебник Английского Для Музыкантов

PREFACE
This book is designed to help the student of English, who is interested in Music to bat-
tle against vocabulary without searching through multiple dictionaries, encyclopedias,
and manuals to gain necessary information on this subject.
I thought a book which would help students to build their active vocabulary, while at
the same time helping with the recognition of less common or important words, would
be a usefull tool with which they could work their way deeper into the language. The
book revises essencial grammar, gives examples of texts, expressions, jokes, pictures,
and music dictionaries.
«English in Music» is designed to be used by a class of students, a couple of friends
or an individual working alone. The level is intermediate, which means it should be
useful for students who have met the basic structures of English at least once. It is
particularly good practice for users who studies at Musical colledges, high schools ,
and Conservatories. Because this is a book about language and music, it will be most
beneficial if the user can contact, correspond, argue, and practice with English-speak-
ing musicians dicussing various subjects and topics.
The book is made up of 14 units, a reading section, a section of vocabularies or glos-
saries. You will find there are passages to read, some long, a few quite difficult, and
many full with the target vocabulary.
There are often checking exercises after them to make sure the words have 'gone in',
that is to say that you have remembered them. There are other exercises, too: match-
ing, gap-filling, defining, etc. Many of them have the answers on the page, which you
are asked to cover.
There are quizzes, not really to test your general knowledge, but rather to motivate you
to srudy the language and music subjects under review. You should, of course, read
widely in addition to this book , to improve your grammar knowledge, reading skills,
and to see the vocabulary you have learnt in this book at work. Treat the book English
in Music as a cross between a textbook, a collection of short stories and a reference
book.
"English In Music" by Nikolayko Anatoly, ver. 1.01.

Copyright © 2006 Nikolayko Anatoly. All rights reserved.
Last version and all information: http://www.vsemusic.ru
ПРЕДИСЛОВИЕ
Данное учебное пособие предназначено для студентов музыкальных учебных

заведений изучающих английский язык. Учебник призван помочь расширить
активный словарь учащегося по музыкальной тематике для чтения англоязычных
музыкальных материалов и профессионального музыкального общения
Учебник предоставляет возможности для разноуровневого обучения. Он
содержит как аутентичные тексты, взятые из англоязычных СМИ, так и
адаптированные, рассчитанные на владение английским языков в пределах
программы старших классов средней школы. Данный уровень предполагает
владение основными грамматическими структурами , поэтому целенаправленное
обучение грамматике не является первоочередной задачей. Грамматические
упражнения, охватывающие минимально необходимые разделы грамматики,
являются вспомогательными для овладения тематической лексики и носят
коммуникативную направленность.
Учебник построен по тематическому принципу и состоит из 14 глав - разделов.
Каждая глава включает в себя: диалог, вводящий в проблематику темы,
грамматические упражнения, использующие тематическую лексику, текст для
чтения с вопросами для обсуждения, картинный словарь, занимательный
материал - шутки, анекдоты, викторины. Пособие включает в себя
дополнительный раздел: тексты для чтения по музыкальной проблематике
разные по степени сложности (теория и история музыки, описание музыкальных
стилей и инструментов). Пособие снабжено музыкальными словарями: англо -
русским, джазового сленга.
Материал, представленный в пособии, призван не только решить учебную
задачу, но и расширить кругозор учащегося и внести в обучение элементы
занимательности.
Пособие может быть использовано в групповой работе с преподавателем, а
также в самостоятельной работе. Задания снабжены ключами для самопроверки.

English in music
Unit 1. Band
Victor: We practice in the school near Tom’s репетируем

house. Tom’s a drummer. We keep all our gear in ударник; аппаратуру
the celler. Let’s go to the hall. в кладовой
At the school hall
Victor : Jane, this is our band. This is Rosy she
plays the keyboards. This is Jane, she is from на клавишных
England.
Rosy: Hi, Jane.
Jane: Hello.
Victor: This is Andy.
Andy: Hi. Nice to meet you, Jane.
Jane: Hi. And you play the guitar, don’t you,
Victor?
Victor: Yes, I play the bass guitar. Hey, where’s
Tom?
Andy: Well, I imagine he’s working late tonight. думаю
Victor: Tom and Andy work together.
Jane: Oh, I see. Where do they work?
Victor: In the music college. Tom is a teacher.
Jane: What instrument do you play, Andy?
Andy: I sing.
Victor: Andy has a good voice. Well ... Let’s get
started.
Rosy: But we can’t do much without the drums.
We must find somebody to stand in. на замену
Victor: Let’s use the drum machine on the key-
boards. And we really need a rhythm-and-lead ритм и соло
guitar. We don’t sound rich enough. You know
what I mean. There’s too much beat and not ритма
enough tune. You can’t play the guitar, can you, мелодии
Jane?
Jane: No I can’t. I’m sorry .
Say if the statement is right or wrong right wrong
The band practices not far from Tom's house.

Rosy plays the keyboards.
Tom plays the percussion instruments.
There's too much tune in the band's sound.
PRESENT SIMPLE or PRESENT INDEFINITE
НАСТОЯЩЕЕ ПРОСТОЕ (НЕОПРЕДЕЛЁННОЕ) ВРЕМЯ
I - am
He, she, it - is
You, they, we - are
Positive Negative Questions
I am a musician. I am not (I'm not)a musician. What am I ?

He He What is he
She She she
It is a singer. It is not (isn't) a singer. it ?
We We What are we
You You you
They are jazzmen. They are not (aren't) jazzmen. they ?
Complete the centences using to be :

1. The concert … in the garden.
2. Tom's parents … teachers.
3. … your father a conductor?
4. No, he ... .
5. John … (not) a student, he … a DJ.
6. That book … (not) very interesting. Take this one.
7. The best seats … 10$.
8. The Bolshoy Theatre … in Russia.
9. I … hot. Open the widow please.
10. What … the weather like today?
Study these rules:

I
You
We
They play at noon.
He
She
It plays at noon.
I
You
We
They don't play at noon.
He
She
It doesn't play at noon.
Do I
You
We
They play at noon?
Does He
She
It play at noon?
Fill in the verbs into the gaps in Present Simple:
Where … you ( work)?

The conservatory … ( open) at 8 o'clock.
She … (study) in New York.
I usually … (get up) at 7 o'clock.
She … often (not go) to the concert hall.
When … they usually ( have) sessions?
Balalayka …(be) a folk instrument.
What … 'string' ( mean)?
Mozart … (be) a great musician.
I … (love) playing around late at night during the summer.
She … (hate) singing!
What … you (like)? I … (not want) to play the piano.
He … (not agree) with you.
I … (think) he is a wonderful drummer.
What … you (think) about your best concert?
The festival … (start) at 4 p.m.
When … courses (begin) this semester?
The rehearsal … (not finish) until 10.35.
Nekrasov Academic Russian Orchestra of Radio and Television, Moscow
Artistic Director and Chief Conductor - People's Artist of the USSR, professor Nikolay Nekrasov.
Academic Russian Orchestra of Radio and Television works in the staff of Russian Radio
and Television (RTR). This high professional orchestra performs music of different styles
and genres.
The Orchestra performs with the soloists of The Bolshoy Theatre of Russia, Novaya Opera
Theatre, Stanislavsky and Nemirovich - Danchenko Musical Theatre, and other theatres;
with world - class instrumentalists on the domra, balalayka, bayan (russian accordion),
accordion, violin, violoncello, saxophone, piano.
Its repertoire consists of more than 9000 compositions: Russian and foreign classical music,
world folk music - Russian, Spanish, Italian, German, French, Greek, Finnish, Hungarian,
American, Turkish, Japanese, modern and popular music. The orchestra successfully plays
compositions by Glinka, Mussorgsky, Borodin, Tchaikovsky, Rachmaninoff, Prokofiev,
Shostakovich, Sviridov, Purcell, Mozart, Beethoven, Brahms, Grieg, Sibelius, Debussy,
Gavrilin, Kikta, Krasilnikov, Rybnikov. A great number of interesting compositions the
orchestra records on Russian Radio and Television.
Great part in the creative activity of the orchestra occupy philarmonic concerts in the
Tchaikovsky Concert Hall, participating in music festivals, master-classes. The orchestra's
concerts and tours achieve great success in many Russian cities, in the USA, Great Britain,
Ireland, France, Spain, Portugal, Germany, Japan, Turkey and other countries.
Thanks to the unique timbre of the Russian folk instruments the Orchestra has beautiful
fluent sound. It makes music with the skill and the expressiveness of symphony orchestra,
mentions "The Philadelphia Inquirer". " A Russian Miracle" is how American newspaper "The
New York Times" headlins its review!
In 2005 the Orchestra plans to celebrate its 60-th Jubelee. Among the plans of the
Orchestra there are new concert programmes, preserving old traditions and in-tune with our
time.
Write your own review of any other band or orchestra. Use the above example.
Why do you need to know how to play the piano by ear?
If you're like most beginning musicians, you're struggling to learn music theory - melodies,
songs, and chords AND how to use music theory to your advantage when it comes to play-
ing piano by ear. To be quite frank, learning the piano is not an easy task. In fact, you can
never totally master it ... there's always room for improvement and exploration!
Let me first start by saying that this article does not intend to discourage you from sight
reading. In fact, you need the basics of sight reading even before exploring the techniques
of playing by ear. Although, it will create several disadvantages:
> Sight readers rely heavily on sheet music.
> Sight readers are less likely to improvise (add style, chords ... respond to what they hear)
because their goal is to play whatever is written on the sheet music accurately.
> Sight readers attempt to memorize entire songs instead of simply recognizing chords at
certain points in a song ...
Note: Don't misunderstand me in any way. These are the qualities of sight readers who
don't understand the theories behind the music that they play.
Advantages of Playing Piano By Ear:
>Being able to recognize chords in songs even without being at a piano.
>You are able to learn songs faster and easier because you understand the chords played
at certain points in songs.
>Not required to memorize chord progressions (pattern of chords played one after the other)
because understanding them automatically inclines you to know what chord to play next.
>Allows you to improvise and add your own "flavor" to the song.
> Allows you to use the same methods to play virtually any song you want.
However, buying the sheet music isn't a bad idea if you want to learn specific parts to songs
that have high levels of complexity.
Jermaine Griggs
1. What are the advantages and disadvantages of playing by ear?

2. What can't sight readers do?
3. Will playing by ear help you to to recognize chords in songs ?
4. Is buying the sheet music a bad idea if you want to learn playing the piano?
Practice
1. Fill in the prepositions where necessary:

1. They can reproduce drum and percussion sounds ... various rhythms
and combinations.
2. Any hollow objects are also used ... drums.
3. When do courses begin ... this semester?
4. She studies ... New York.
5. You play ... the guitar, don't you?
6. We must find somebody to stand ... .
7. The world is full ... music.
8. He does not intend to discourage you ... sight reading.
9. Sight readers rely heavily ... sheet music.
10. These chords are played ... certain points in the song.
11. They don't understand the theories ... the music that they play.
12. You can improvise and add your own "flavor" ... the song.
2. Symphony orchestra seating arrangement:
Fill in the tags: conductor, first violins, cellos, basses, french horns, trumpets,
percussions, trombones, oboes, bassoons, clarinets, tuba, violas, secons violins.
Find in the picture: string instruments, woodwind instruments, brass instruments.
Do flutes belong to woodwind instruments or brass instruments?

3. Quiz:
1. This percussion instrument is typically a bronze disc that produces sound
when struck by a knobled beater.
a) drum b) triangle c) gong d) piano
2. Lowest-pitched of the brass wind instruments
a) oboe b) french horn c) saxophone d) tuba
3. Round plates of copper-tin alloy, producing indeterminate pitch
a) cymbals b) marocass c) gong d) claves
4. Percussion insrtument consisting of a series of graduated wooden bars that
are struck with mallets.
a) xylophone b) triangle c) trombone d) recorder
5. This musical instrument is a type of psaltery or zither, the name of which lit-
erally means "sweet sound".
a) Chittara b) Crumhorn c) Dulcimer d) Sitar
4. Match part 1 and 2

Part 1: Part 2:
Band · musicians playing together: a group of musicians who play
together, particularly a group playing popular or rock music.
percussion instrument · a musical instrument usually consisting of a membrane
stretched across a hollow frame and played by striking the
tapping sound stretched membrane.
· a regular sound made by something striking a surface
rhythm section · percussion synthesizer: an electronic synthesizer that can
reproduce drum and percussion sounds in various rhythms and
bass guitar combinations.
· rhythm instruments: the instruments in a band such as the
keyboard ['kibo:d] drums, bass, piano, or guitar that provide the basic rhythm.
· low-pitched guitar: a four-string guitar, usually electric, that has
drum machine the same pitch and tuning as a double bass.
· set of keys: a set of keys laid out in a row or rows, for example,
on a computer, typewriter, piano, or organ
musical instrument: a musical instrument that has
a keyboard, especially an electronic instrument.
4. Find the English for: 1-е скрипки, альты, виолончели, ударные, фаготы, валторны,
трубы. Репетировать, ударник, аппаратура (инструменты, снаряжение), зал, группа,
играть на клавишных инструментах, играть на гитаре, работать допоздна, хороший
голос, давайте начнем, заменить кого-либо, ритм-машина, ритм и соло гитара,
недостаточно полно (богато),много ритма, мелодия, композитор, скрипач, дирижер,
диск-жокей (ди-джей), сессия, репетиция, расписание, планы, ансамбль, мембрана,
ударные, ударять, бубен, звуки, ритмические комбинации (структуры), барабан,
основной ритм, низкий/высокий (звук), тарелки, строй (инструмента).
5. List the instruments in the orchestra that you would most like to play well. Also
note down any that you would never like to learn and why.
Active vocabulary:
Practice drums bass guitar tapping
drummer rhythm and lead percussion sessions
gear beat sounds rhythms
hall tune. bass ['beis] low-pitched
band conductor four-string cymbals
keyboards DJ tuning conservatory
guitar arrange keys rehearsal
violin viola French horn trombone
bassoon bassoon tuba trumpet
Learn a few more idioms:
by ear {adv. phr.} 1. By sound, without ever reading the printed
music of the piece being played. He can’t read music , he plays by ear.
2. Waiting tosee what will happen. I don't want to plan now; let's just play it by ear.
by heart {adv. phr.} By exact memorizing; so well that you

remember it; by memory. The pupils learned many poems by heart.
do without or go without{v.} 1. To live or work without

(something you want); manage without. Ann said that she likes
jazz, but can do without it. We had to go without hot food
because the stove was broken. 2. To live or work without something
you want; manage. If George cannot earn money for a keyboard, he
will have to do without it. Compare: GET ALONG, GET BY.
in tune {adv.} or {adj. phr.} 1. At the proper musical pitch;

high or low enough in sound. The piano is in tune. 2. Going well
together; in agreement; matching; agreeable. - Often used with "with".
Fill the idioms in the gaps:
The church choir sang the hymns ...
He knew the records of The Beatles by ....
I can’t ... music.
Your instruments are not ... .
Keys: Practice 1. 1 - in; 2 -as; 3 -x ; 4 - in; 5 - x ; 6 - in ; 7 - of; 8 - from ; 9 - on ; 10 - at ;

11 - behind ; 12 - to; 3. 1 - c; 2 - d; 3 - a; 4 - d; 5 - c.

Unit 2. Favourites
Andy: Jane, what music do you like?

Jane: I like different music, classical, jazz, rock ...
My favorite classical composer is Handel.
Andy: I think he lived long ago. Can you tell me a few
words about him?
Jane: Sure. He was born in the small German town of Halle.
From childhood he showed a decided taste for music. In
the nursery his only toys were trumpets, drums, flutes and
anything out of which he could get musical sounds. At that
time musicians were very poorly payed, and his father want-
ed the boy to get on well in the world. So he tried to turn the
child's mind away from music by sending every instrument
out of the house. But in spite of so much care and trouble
taken, it was impossible to destroy the strongest desire of the boy's nature. Then
the Duke of Saxe-Weissenfels heard the boy play, and was struck by his genius
that he persuaded to have him properly trained. Today his famous oratorios and
symphony pieces are played everywhere, and people delight and marvel at them.
What music do you like?
Andy: I like rock and espessially Kurt Cobain.
Jane: Did he have anything to do with the group Nirvana?
Andy: Yes, Kurt Cobain was a rock star and a member of the group Nirvana. Their
album 'Never mind' made them famous in 1991. It sold 10,000,000 copies. He was
sad and worried about the problems in the world. This is why he wanted to die. He
died in April 1994 when he was only 27 years old. When he died he was famous as
the man who spoke for young people - the Generation X.
Jane: But the greatest musician of all times was Orpheus, in Greek mythology,
poet and musician, the son of the muse Calliope and Apollo, god of music. He was
given the lyre by Apollo and became such an excellent musician that he had no
rival among mortals. When Orpheus played and sang, he moved everything animate
and inanimate. His music enchanted the trees and rocks and tamed wild beasts,
and even the rivers turned in their course and followed him.
Handel was born in Gemany.

At that time musicians were very well payed.
Kurt Cobain played with the group Nirvana.
Orpheus was god of music.
PAST SIMPLE or PAST INDEFINITE - ПРОШЕДШЕЕ ПРОСТОЕ ВРЕМЯ
to be - I was We were
He was You were
She was They were
It was
I
You
We
They practiced ( or irregular verb) at noon.
He
She
It practiced at noon.
I
You
We
They didn't practice at noon.
He
She
It didn't practice at noon.
Did I
You
We
They practice at noon?
Did He
She
It practice at noon?
The verbs in Past Simple may be Regular: play - played, tune - tuned,
repeat - repeated, record - recorded; pass - passed, perform - performed
or Irregular: be - was/ were, beat - beat, become - became, begin - began,
blow - blew, brake - broke, bring - brought, broadcast - broadcast, burn -
burnt, buy - bought, choose - chose, do - did, feel - felt, get - got, give -
gave, go - went, grow - grew, have - had, hear - heard, hit - hit, keep - kept,
know - knew, lead - led, learn - learnt, make - made, mean - meant, read -
read, ring - rang, send - sent, set - set, show - showed, sing - sang, speak -
spoke, take - took, teach - taught, think - thought, write - wrote and others.
Study these examples:
Positive - Stuart took personal music lessons last month.

Negative - Stuart didn't take personal music lessons last week.
Questions:
- Did Stuart take personal music lessons last month?
- Yes, he did.
- Did Stuart take personal music lessons last month or last week?(Alternative)
- Who took personal music lessons last month?
- Stuart did.
What did Stuart take last month? What lessons did Stuart take?
- Stuart didn't take personal music lessons last week, did he?
No, he didn't. (Question tags)
Случаи употребления the Past Simple Tense:

1. Для обозначения действий, которые происходили в прошлом:
а) либо часто повторялись:
We toured a lot last year. - мы много путешествовали в прошлом году.
б) Либо следовали друг за другом:
On Monday I met Sally. We chatted for an hour and then went to see Liz. - В
понедельник я встретила Салли. Мы поболтали часик, а затем пошли к Лиз.
в) Либо были единичными и имели место:
yesterday - вчера, last year - в прошлом году, last week - на прошлой неделе,
2 months ago - 2 месяца назад, I saw him last month. - Я видел его в прошлом
месяце.
2. Для выражения действий, регулярно повторяющихся или постоянно имевших
место в прошлом.
В английском языке есть два оборота used to + инфинитив; would + инфинитив
(бывало, раньше,иметь обыкновение).
My friend used to call me every day. - Мой друг, бывало, звонил мне каждый день.
(теперь он этого не делает).
They would sing songs at parties. - Они раньше (бывало) пели песни на
вечеринках.(теперь они этого не делают).
*Обратите внимание на оборот used to. Для образования отрицательной и

вопросительной формы требуется вспомогательный глагол did.
He didn't use to improvize when he was a child. - Он не имел обыкновения
импровизировать, когда был ребёнком.
Did she use to eat many sweets? - Она раньше (бывало) ела много конфет?
3. Past Simple может выражать действия, которые происходили в течение какого-
то периода времени в прошлом, который начался и закончился в прошлом.
for two weeks - в течение двух недель, for two months - два месяца,
for 2 hours yesterday - в течение двух часов вчера.
Fill in the verbs into the gaps in Past Simple:
1. My friend … (to write) to me very often last year.
2. Yesterday … (to be) my day off.
3. I … (to get up) at eight o'clock yesterday.
4. My wife … (to appear) un the stage last year.
5. My elder son … (to visit) our rehearsal last evening.
6. Where … you (to take) the book from?
7. Last Monday we … (to have) five lessons.
8. When … you (to come) home yesterday?
9. He … (to be) a pupil twenty years ago.
10. We … (to have) five lessons last Monday.
11. Nick … (to answer) well and … (to get) a "five".
12. He used ... (to like) jazz.
Music in the USA

Different kinds of music come from different parts of the
United States.
The Deep South is the home of Blues music. Blues
comes from the songs of the black slaves They sang
about their hard life.
New Orleans is famous for traditional jazz.
Nashville, Tennessee is the capital of country music.
Country music comes from the folk songs of Britain and Ireland. The first white set-
tlers took these songs to America.
Detroit is the home of another kind of black music - Motown. Detroit has a big car
industry and a lot if black people work there. Motown means 'Motor Town'. Soul
music comes from Motown.
In the 60-s and 70-s West Coast music started in California. This is bright happy
music. There are lots of songs about surfing. The Beach Boys were a famous West
Coast band.
New York is famous for modern jazz. There are lots of jazz clubs in Greenwich
Village. New York is also the centre of musical theatre. Broadway has a lot of
famous theatres.
Where is the home of Blues music?

What is Greenwich Village famous for?
What does Motown mean?
What music comes from Motown?
Where songs about surfing are popular?
What is Broadway famous for?
What city is the centre of musical theatre?
Practice
1. Fill in the prepositions where necessary :

1. He showed a decided taste ... music.
2. He was sad and worried ... the problems in the world .
3. Broadway has a lot ... famous theatres.
4. New York is famous ... modern jazz.
2. Quiz:
1. German organist and composre of the Baroque era.
a) Berlioz b) Bach c) Mozart d) Pahelbel
2. British rock music group that lead the so-called 'British invasion' of the 1960-s.
a) The Who b) The Beatles c) the Rolling Stones d) The Queen
3. Which composer, often called 'The Poet of the Piano', was in love with a woman
more commonly known by a man' s name, and died of tuberculosis?
a) Chopin b) Liszt c) Mozart d) Schumann
4. You may find the characters Leonore, Florestan, Rocco and Marzelline in
Beethoven's only opera. What is the title of this opera?
a) Don Giovanni b) Faust c) Fidelio d) Il Trovatore
5. Who is the only artist to have a UK and US chart entry in every year from 1971 to
1999 inclusive?
a) Paul McCartney b) David Bowie c) Freddy Mercury d) Elton John
Learn a few idioms:

play a part in {v. phr.} To be instrumental in; have a role in; be concerned with.
Some First Ladies play a greater part in musical life than others.
all at once {adv. phr.} At the same time; together. Bill can play the piano, sing,
and lead his orchestra all at once.
all thumbs {adj.}, {informal} Awkward, especially with your hands; clumsy.
Harry tried to play the piano but he was all thumbs.
heart and soul {n.} Eager love; strong feeling; great enthusiasm. Often used
with a singular verb. When Mr. Pitt plays the piano, his heart and soul is in it.
John plays tennis badly, but with heart and soul. Mary wanted a violin with all her
heart and soul.
hard of hearing {adj.} Partially deaf. Some people who are hard of hearing wear
hearing aids.
Translate in English: одновременно (сразу), от души, играть роль в, «туг на ухо»,

руки растут не из того места
Theatre hall plan:
- Where are the cheapest tickets? - Where are the most expensive tickets?
- When does the curtain rises? - What colour are the footlights?
3. What are the names of famous composers of Baroque era:

1. He is known as 'The redheaded priest' and wrote many, many pieces for the Church
(about 640 pieces all together). He taught music at several schools at the time. But as
his popularity declined, he lost contacts and support, and at the time of his death he
was a poor man. His most famous music is 'The four Seasons' for a violin and string
orchestra.
2. He came from a long line of musicians, although he was the first to become famous
outside of his hometown of Eisenach. An incredibly gifted organist, he got a job as a
cantor in 1722. He wrote new pieces for the organ for each service, destroying the
used ones. His work was very unique, and his use of intertwining melodies and the
fugue are trademarks of his genius.
3. Skilled at the organ, he wrote several church pieces before being picked up by
Prince Ernst of Hanover as a court musician. Later he went to London, where his
Italian-style operas were all the rage. In 1741 he wrote the religious classic "Messiah".
4. Choose a song or piece of music and explain what you like and don't like about it.
Then compare it with a similar piece of music of your choice.
5. Find the English for : оркестровая яма, сцена, рампа, проход между рядами,
ложа, партер, занавес, бельэтаж, галерка, балкон, труба, флейта,
импровизировать, традиционный, джазовый клуб, музыка в стиле соул
Make up a story on the picture. Use the words: to whistle a tune, a good idea, to rush,
to play, to write down , to dance with joy, to publish, to be performed, to listen to,
a juke-box, a barrel organ, to annoy, to commit suiside, at the pearly gates, St. Peter
Active vocabulary:
classical oratorios composer lyre

jazz symphony pieces trumpets violinists
rock album flutes tour
footlights stalls aisle stage
box circle curtain chart
entry
Keys: 1. 1 - for; 2 - about; 3 - of; 4 - for ; 2. 1 - c; 2 - b; 3 - a; 4 - c; 5 - d

3. 1. Antonio Vivaldi (b. 1676 d.1741) 2. Johann Sebastian Bach (b.1685 d.1750)
3. George Fredric Handel (b.1685, d.1759)
Themes for essays:

Another kind of theatre hall plan
Do you know other theaatre plans?
Find information about:
- Ancient theatre
- Shakespear’s theatre
- Modern theatres
Explain how you understand the quotations:
«A good composer does not imitate; he steals.»

Igor Stravinsky (1882–1971), Russian-born U.S. composer.
«There is music in the air, music all round us: the world is full of it, and you simply take
as much as you require.»
Edward Elgar (1857–1934), British composer, conductor, and violinist.
«A lot of notes lying around on that old piano. I just pick at the ones I like.»
Nat King Cole (1919–1965), U.S. singer and jazz pianist.
Describing his style of piano playing.

Unit 3. New equipment
Victor: Welcome to the band, Max. College certainly taught you well.
But that old acoustic guitar won't be any good. You have to get some
decent electric equipment.
Max: Yes, I know. I'll see about it this week.
Victor: I'll come with you, if you like.
Max: Yes, thanks. It's impossible to get a decent sound out of cheap
equipment, so I shall need your advice.
Victor: What guitar are you going to buy?
Max: From a hardware standpoint, electric guitars have more compo-
nents and doohickeys than do acoustic guitars. Vibrating strings pro-
duce the different tones on a guitar. But you must be able to hear those
tones, or you face one of those if-a-tree-falls-in-a-forest questions. For
an acoustic guitar, that's no problem, because an acoustic instrument
provides its own amplifier in the form of the hollow sound chamber
that boosts its sound ... well, acoustically. But an electric guitar, on the
other hand, makes virtually no acoustic sound at all.
(Well, a tiny bit, like a buzzing mosquito, but nowhere near enough to
fill a stadium or anger your next-door neighbors.) An electric instrument
creates its tones entirely through electronic means. The vibrating string
is still the source of the sound, but a hollow wood chamber isn't what
makes those vibrations audible. Instead, the vibrations disturb, or mod-
ulate, the magnetic field that the pickups - wire-wrapped magnets posi-
tioned underneath the strings - produce.
Victor: That's too difficult for me. You know what we need. What is it
like to be a guitarist for you?
Max: Face it, being a rock guitarist is just about the coolest thing you
can be - next to a secret agent with a black belt in karate. But even if
you were a butt-kicking international person of mystery, playing rock
guitar would still be cooler because it involves art, passion, power,
poetry, and the ability to move an audience of listeners.
A few days later
Victor: Oh, yes. That's the sound we'll be content with . Now we'll need
to arrange some extra sessions if we want to have a good gig in two
months. It'll be our first really big performance. We have to buy a new
modern amplifier and a pair of loudspeakers. We can get good sound
with just a few good pieces. And we must remember that it'll be the
band members who really make the band . All the band members must
want to play the same kind of music. If the drummer is into heavy metal
and the singer likes mainstream pop, you'll have problems sooner or
later.
Max: I agree with you.
Max has a decent electric guitar.

Max wants to buy some cheap equipment.
All the band members want to play the same
kind of music.
Max has his own oppinion about the band.
FUTURE SIMPLE or FUTURE INDEFINITE - БУДУЩЕЕ ПРОСТОЕ ВРЕМЯ
Positive Negative Questions
I I will (shall) not be there. What shall (will) I (we) do?

We will (shall) be a singer We won't (shan't) be bad.
. What will he
He He she
She She will not conduct. it be?
It It
You You What will you
They will sing. They won't perform. they play ?
Study these examples:

Positive - He will perform next week.
Negative - He will not(won`t) to perform tomorrow
Questions :
Will he perform next week?
Will he perform tomorrow or next week? (Alternative)
Who will perform next week?
When will he perform?
He will not perform tomorrow, will he? (Question tags)
I’ll phone you when I get home from work.

The time of the sentence is future but we use a present tence (get) in the when-part
of the sentence.
If we don’t hurry we’ll be late.
After if , we normally use the present simple (if I do/ if I am etc.) for the future.
Use the verbs in brackets in Future Simple:
1. My friend … (write) to me.
2. Tomorrow … (be) my day off.
3. I … (get up) at eight o'clock tomorrow.
4. My wife … (appear) on the stage in a year.
5. My elder son … (visit) our rehearsal in the evening.
6. Where … you (take) the book from?
7. On Monday we … (have) five lessons.
8. When … you (come) home?
9. He … (be) a pupil.
10. We … (have) five lessons on Monday.
11. Nick … (answer) well and … (get) a "five".
12. If I ... (go) to New York, I ... (see) a Broadway show.
Your Hand is Your Band: The Importance of Fingering

After Jamey Andreas (www.guitarprinciples.com)
Do you imagine how good a band can be if the players are not
sure which notes to play?
How good could their performance be if at rehearsals different
members played different notes at different times? And yet, when
guitarists practice, this is actually what happens for many of us.
Very often, we are not really sure of which fingers we are using for
each note we must play, and we do different things at different
times. Or, we may use awkward fingering for something, because we never stopped
to think, examine, and analyze what we do.
I formed my priciples of teaching the guitar and the list now contains many items. The
list is called "really basic things that every guitarist should fully understand and put into
practice, but apparently, nobody is telling them, or they are just not listening."
The subject of fingering is one I would like to talk about now. It often happens that I will
get a new student, who played for a while, and had lessons with another teacher.
Many times I was surprised, in fact, shocked, to find them practicing things, especially
rather complex things like classical pieces or fast rock licks on electric guitar, and they
DO NOT HAVE ANY FINGERING OR PICKING WRITTEN ON THE MUSIC. In other
words, the notes or tab are there, but the fingers to use for each hand are not.
Why is this important? Because the fingering is the set of instructions that your brain
processes and follows when you play in order to bring about the results you want:
namely, the right notes at the right time. If you do not figure out the fingering you will
use (or experiment with), than you are, in effect, will make your practicing weak and
ineffective because you will not fulfill the two conditions of practice:
Know the right thing to do to achieve what you want, and MAKE SURE YOU DO IT!
Here is the fundamental understanding you must have. When you train your fingers
(and realize you really train your WHOLE body WITH your mind) to perform the actions
necessary to get the result you want (the exact right movements at the exact right
time) you must be entirely and consciously clear as to what those movements need to
be, AND you must know, really know, whether or not you do those movements with
each repetition during the practice process. If you do not even bother to figure out and
write down the picking to a complex lick, or complex passage in say, a Bach fugue,
then you a undoubtedly do something different with each repetition, and do something
even slightly different just won't cut it when it comes to nailing things securely.
The only time you can get away without the fingering in your music is when the notes
you play are parts of patterns that you already know well, and able to do automatical-
ly. Of course, the more we develop as players, the more patterns we accumulate. But if
you want to continue to develop your abilities as a player, you must know how to deal
with new and challenging material, and to CONQUER IT! And believe me, there are
ways that work, and ways that don't! Don't be lazy.
Learning the ins and outs of fingering and picking takes experience, and analytical
thinking. If you take lessons, ask your teacher about the subject, and always think in
this way when you practice.
Whenever you have trouble with something, a lick or scale run or intricate fingerstyle
passage, ask yourself this question: do I know EVERY finger, on both hands, responsi-
ble for playing EVERY note (for pickstyle, substitute pick stroke, up or down, for the
right hand). The answer to that question (the right answer, YES, of course) will very
well solve that problem for you.
What is the subject of the article?

What is the synonim of the word fingering?
When can you get away without the fingering in your music ?
Find another title for this article.
NOTE:
You can play the guitar with fingers or using a pick(медиатор), a thumbpick
(медиатор на большой палец).
You can also use slides or tonebars for some styles of music
to get a clean, bright, cutting tone with great sustain (задержка звука). They are made
of plastic, shell, steel and other materials.
P-I-M-A - обозначение аппликатуры при игре на гитаре где: P - большой палец, I
- указательный, M - средний,
A - безымянный
Boom-chick-strum - приём игры "бренчание" в стиле country ("кантри").
The Quotes of Eugene Ormandy
(As collected by the members of the Philadelphia Orchestra)
· The next movement is still in the factory.

· It's not important. It's only important when it's late.
· I don't want to repeat this 100 times. When you see crescendo, it means piano.
· The minute you slow down a fraction, you're behind.
· Intonation is important, especially when it is cold.
· It is not together, but the ensemble is perfect.
· My bowings are only general. I never know where I am.
EO: To the Woodwinds: There are no woodwinds at Number 6.

Woodwinds: We're at number 15.
EO: I know. that is why.
· I think one thing and say another.

· Accelerando means in tempo. Don't rush.
· I can see none of you are smugglers, that's why it's so loud.
· The tempo remains pianissimo.
· I mean what I meant.
· I don't mean to make you nervous but unfortunately I have to.
· I know this music from memory, not from the music.
· Chorus, I am sorry you have to stand so long, but can you stand again?
· I purposely gave you a slower tempo, because I did not know what the right one was.
· Suddenly I was in the right tempo -- but it wasn't.
· Something went wrong. It was correct when I studied it.
· There was confusion since I stood here 35 years ago.
· I purposely didn't do anything and you were all behind.
· Did you play? It sounded very good.
· That's the way Stravinsky was -- Bup, bup, bup - The poor guy's dead now. Play it
legato.
EO: (To William Smith) Did you play?

WS: Yes.
EO: I know. I heard you.
· That's the way it was every time I studied it.

· Serkin was so sick he almost died for three days.
· Not one of you told me I was too slow - I know I was too slow - why didn't you tell
me?
· That was perfect. It was just the opposite from what I said yesterday.
· Yes, the mutes are already on. You took them off in the beginning.
· Bizet was a very young man when he composed this symphony, so play it softly.
· Even if the right instruments are not here, we will play it anyway. It's only a short
piece.
· It has no rhythm, but it will because it's so much faster.
· After one performance it will be perfect.
· I will beat in six because of the distance.
· I'm conducting slowly because I don't know the tempo.

· I was trying to help you so I was beating wrong.
· Who is sitting in that empty chair?
· I guess you thought I was conducting, but I wasn't.
· I am thinking it right but beating it wrong.
· You're looking at me so strangely.
· Why do you always insist on playing while I'm trying to conduct?
· We do not know when he is coming. He is coming tomorrow.
· Don't think you are looking at me because you are not.
· Even when you are not playing, you are holding me back.
· He was listening so I don't remember.
· Tonight I'm going to listen with my ears.
· Muti is going to do the Alpine Symphony this year. He will do it well because it is not
very well known.
· At every concert I've sensed a certain insecurity about the tempo. It's clearly marked
quarter note = 80, uhh, 69.
· It's difficult to remember when you haven't played it before.
(To Cindy Williams, violinist) I don't think I've ever met you. Are you Swedish?
-Bass Clarinetist: What note do I have?

-EO: The score is written out the way you hear it the way you play it -
and I have to transpose back to normal.
-Tubist: Long note?
-EO: Yes, make it seem short.
· During the rests - pray. (молитесь)

· Don't play louder, just give it more.
· More basses because you are so far away.
· We can't hear the balance yet because the soloist is still on the airplane.
· There is a number missing. I can see it.
· If you don't have it in your part, leave it out because there is enough missing already.
-Q: is that a G or a G# Maestro

-EO: Yes.
· It's all very well to have principles, but when it comes to money, you have to be flexi-
ble.
· Start three bars before something
· I conduct faster here so you can see my beat.
· I can conduct it better than I count.
· Someone came too sooner.
· It can either be too soon or too late or not together.
-EO: Percussion a little louder

-Percussion: We don't have anything.
-EO: That's right, play it louder.
· You notice I go faster and slower, faster and slower. It is all in relation to the previous
tempo.
· We have to play it longer because there are no numbers or letters.
· I always feel I do it too slow, but then others do it faster.
· Beauty is less important than quality.
· I need one more bass less.
· It is not as difficult as I thought it was, but it is harder than it is.
· Now we will play something we have never played before. I didn't mean that. Mahler
wrote it as the 3rd Movement of his 4th Symphony. I mean the 4th Movement of his 1st
Symphony - we play it third. The trumpet solo will be played by our solo trumpet play-
er. It's named "Blumine" - which has something to do with flowers.
· I wrote it the right way so it was copied the wrong way right - I mean the right way
wrong.
· Don't ever follow me because I am difficult.
Practice
1. Find the equivalents:

исполнить оркестром, сопровождать, петь в гармоническом изложении, грянуть
оркестром, акустический, достойный звук, представление, опыт, электронное
снаряжение (интрументы), ремикс, цифровая система, система "звук вокруг",
реверберация, обработка звука, , аппликатура, исполнение, неудобная
аппликатура, фуга, сложное место(связка), пассаж.

1. You can't get a decent sound ... cheap equipment.
2. That's the sound we'll be content ....
3. I was searching ... the best digital system.
4. Eichinger is working ... sound design concepts for studio and hi-fi rooms.
5. Your forearms should be parallel ... the ground.
6. Smaller downbeats are used ... faster music.
3. Find the definitions from the picture:
1. headstock A - The box that provides an anchor for
the neck and bridge and creates the
2. Tuning playing surface for the righthand.
machines
B - the frets are embedded in it.
3.nut C - wooden plate that anchors the
strings to the body.
4.fingerboard D - 1) Thin metal wires or bars running
and neck perpendicular to the strings
that shorten the effective vibrating
5.strings length of a string, enabling it to
produce different pitches. 2) A verb
6 frets describing worry, as in "He frets
about how many little parts are on his
7.sound hole guitar."
E - one of the two points at which the
8.body vibrating area of the string
ends. (The other is the bridge.)
9.bridge F - The section that holds the tuning
machines.
H - metal (for electric and steel-string
acoustic guitars) or nylon (for classical
guitars) wires that, drawn taut, produce
the notes of the guitar.
«Hooker has a curiously archaic manner: after singing a line, his guitar breaks into a
series of rapid, aimless little runs proliferating through a whole back-country of melan-
choly.»
Philip Larkin (1922–1985), British poet.

Referring to John Lee Hooker.
4. Match verbs with their descriptions : a) Arrange b) Orchestrate c) Back d) Conduct

e) Harmonize f) Score g) Strike up the band
1 - to write or change a piece of music so that it is suitable for particular instruments :

a symphony arranged for the piano.
2 - Arrange a piece of music so that it can be played by an orchestra.
3 - if musicians accompany a singer or another musician, they play music that makes
the main performer sound better.
4 - to stand in front of a group of musicians and direct their playing.
5 - to sing or play music in harmony
6 - to arrange a piece of music for a group of instruments or voices. [usually passive]
7 - tell the band to begin playing.
Fill in the neccessary verbs in the appropriate form:
1. The orchestra is … by John Williams.
2. To arrange a piece of music for the orchestra means to ... it.
3. To accompany means to ... somebody.
4. Musicians learn to provide a harmony for a melody, in other
words to ... it.
Active vocabulary:
acoustic performance heavy metal producer

equipment. amplifier mainstream pop tools
gig loudspeaker chorus pedal digital system
multimedia re-mix surround and reverb mastering
fingering process a complex lick fugue
conquer ins and outs scale run fingerstyle passage

pay attention (to) {v. phr.} To listen to someone; hear and understand someone
alertly. "Pay attention, children!" the teacher cried, "Here is your homework
for next week!"
one-night stand {n. phr.} A single performance given by a traveling com-
pany while on a tour. After they went bankrupt in the big cities, the traveling
jazz quartet played one-night stands in the country.
play second fiddle {v. phr.}, {informal} To act a smaller part; follow another's
lead; be less noticed. His wife had the stronger mind and he played second
fiddle to her. During the tournament, lessons played second fiddle to bas-
ketball.
play up {v.} To call attention to; talk more about; emphasize.
The conductor played up the possibilities, and kept our minds off our weak-
nesses. The director played up the woman's glamor to conceal her lack of
acting ability.
Traslate from Russian into English:

1. Обратите внимание на темп музыки
2. Он не любит давать концерты, ему больше нравится звукозапись.
3. Дирижер не должен играть вторую скрипку в оркестре.
5. Перед концертом не нужно привлекать излишнее внимание к
недостаткам исполнителей - помогите им настроиться.
Keys : 2. 1 - out of ; 2 - with ; 3 - for ; 4 - on ; 5 - to; 6 - for

3. A - 8; B - 4; C - 9; D - 6; E - 3; F - 1; H - 5
4. a) - 1; b) - 2; c) - 3; d) - 4; e) - 5; f) - 6; g) - 7;
1 - conducted; 2 - orchestrate; 3 - back; 4 - harmonize

Unit 4. At the rehersal
Victor: Let's start with some practicing exersises . Тренировочных упражнений

Andy: I'm sick and tired of all those scales and arpeg- тошнит, от гамм и
gios. арпеджио
Victor: We all do not have perfect pitch and only diffi- абсолютный слух
culties in reading music let alone sight -reading. And не говоря уже о
you, Andy often misses entrances. пропускает вступления
Rosy: But your sense of rhythm, Victor, especially for чувство ритма
anything syncopated, is virtually non-existent, and синкопировано
exercises won't help.
Victor: And you , Rosy, are playing the piano out of не в тон (не по тем нотам);
tune. I'm sure you are not looking at the music and в ноты
playing flat. Then you mixing up bass cleffs and treb- "без знаков"
ble cleffs, touching wrong notes ... "цепляя" неверные ноты
Jane: Stop argueing, everybody. I think that any
group should avoid any quarells. They bring only
harm. Nobody is pefect. I remember a well-known
conductor. He had much trouble at music school. His
hands couldn't span a full octave on the piano, so he дотянуться
was not striking the keys by the the finger recom- "брать" ноту нужным
mended and that, paticularly on the black notes, the пальцем;
little finger was falling short of expectations. He was не доставал
thinking of changing instruments - going back to the
woodwind class, where he was biting through oboe
reeds at the sessions, or the strings department, трости
where he was dropping the viola bow, or the percus- смычок
sion wing, where he was snapping drumsticks, or the ронять
brass class, where he was trying to swallow a trumpet
mouthpiece. He was making such a pig's ear out of мундштук; испохабить (make
one of the most beautiful melodies Brahms ever com- a mess)
posed. Now it's hard to get tickets to his concerts and
recitals, as a soloist or accompanying guest singers концерты для солиста
and instrumentalists.
Andy: You are right, Jane.
Andy enjoys scales and arpeggios.

Victor has perfect pitch and good sight -reading.
Quarells bring only harm.
Andy used to snap drumsticks.
Continuous (progressive) -
действие находится в развитии в определенный момент времени
He is writing a song now.
Are/Is + V + ing
He was writing a song at 5 o'clock yesterday.

Was/Were + V + ing
PRESENT PROGRESSIVE образуется при помощи вспомогательного глагола to

be, который изменяется по лицам и числам + четвёртая форма глагола (4 ф.гл. =
1ф.гл. +ing).
I - am
He, she, it - is + 4ая форма глагола.
You, they, we - are
Настоящее продолженное время происходит в момент речи, то есть в данный
момент, действие, о котором идёт речь, может больше и не повториться.
eg. What are you doing? - I am playing the accordion.
В вопросительных предложениях (только общий вопрос, требующий ответа ДА
или НЕТ) на первое место ставится изменённый по лицам и числам
вспомогательный глагол to be, затем подлежащее (может быть выражено либо
существительным, либо местоимением), сказуемое (глагол) и второстепенные
члены предложения.
В отрицательных предложениях добавляется частица not.
Существует большая разница между НАСТОЯЩИМ ПРОСТЫМ и НАСТОЯЩИМ
ПРОДОЛЖЕННЫМ ВРЕМЕНЕМ, при переводе не путайте, пожалуйста, например:
Я хожу и Я иду.
Present Progressive не употребляется с глаголами:
To love - любить, to believe - верить, to see - видеть
To like - нравиться, to wish - желать, to hear - слышать
To forget - забывать, to remember - помнить
To hate - ненавидеть, to need - нуждаться
To know - знать , to understand - понимать
To want - хотеть, to be - быть - находиться
Вместо этого глаголы употребляются в Present Simple.
Use the verbs in brackets in Present Continuous:
What … you (do)?

She … (read) notes.
They … (not stand) on the stage.
I … (play) a serenade.
Whose account … you (work) on?
She … (study) hard for her final exam.
We … (have) a gig this evening.

What … you (do) tomorrow afternoon?
She … (come) on Friday.
Common present continuous time expressions include: at the moment, now, today, this
week, this month, tomorrow, next week (for future arrangements ), currently
am I
are you
is he
What is she doing this afternoon?
is it are we
are you
are they
Choose the correct variant:

- Where are your children?
- They … 1) on the carpet and … 2).
1) lie; are lying; lies; 2) are listening to music; listen; listens.
Listen! Somebody ….. a nice song.
sings, is singing, are singing
- What … you …1) now?
- I ... 2) for my key. I can't open the door.
1) are doing; do …. do; is … doing 2) look; am looking; is looking.
Why … you changing the melody? The music fits the words perfectly.
don't; doesn't; do, are.
Don't make so much noise. I … to work.
is trying; try; am trying; are trying
At the moment we … people.
entertain, are entertaining
Present Simple or Present Progressive:
1. We (perform) pieces of music on musical instruments every morning.

2. What … this word (mean)?
3. At this moment we (do) an exercise on transposition.
4. … you (know) that boy over there?
5. "What … you (do), Tom?" "I (harmonize)." "Let me see what … you (harmonize)."
6. … you (see) anything?
7. I (not remember) his name exactly.
8. Grandpa (be) by himself in the library. Grandpa (do) the orchestration.
9. I (hope) you (know) where he (live).
10. "… you (read), dear?" "Yes." "What (be) the book about?" "Don't talk to him while
he (read)."
11. You (play) too loudly, so of course you (get) deaf.
12. How long … it (take) you to get to the Institute, usually?
13. … you (like) what you (do) now?
14. "It (snow) now?" "Yes, it (snow) very hard. You can't go out yet."
15. What … you (want)?
16. "Hello!" said Freddie. "What … you (do) here?"
17. "You (wear) a new coat?" "Yes, you (like) it?" "The colour (suit) you but it (not fit)
you very well. It (be) much too big."
18. Mr. Black often (go) to the theatre but his sister (not go) very often. He (like) all
sorts of plays. She (prefer) comedies.
19. "Why … that man (stand) in the middle of the stage?" "He … (try) to concentrate. ".
20. "Why … he (not use) an accompanist ?" "Some people (not bother) to use an
accompanist. They (risk) singing solo."
Случаи употребления THE PAST PROGRESSIVE TENSE

1. Для обозначения действий, протекавших в точно указанный момент в
прошлом.
Этот момент может быть выражен:
a) точным указанием времени, когда происходило действие:
I was writing a letter to my friend at 6 p.m. yesterday. - Я писал письмо моему
другу вчера в 6 часов вечера.
б) придаточным предложением:
Jane was talking about Robin when Liz came in.- Джейн говорила о Робине, когда
вошла Лиз.
2. PAST PROGRESSIVE употребляется по тем же правилам, что и PRESENT
PROGRESSIVE:
а) для выражения действий в прошлом, которые происходили не только в точно
указанный
момент, но и более широкий отрезок времени:
He said he was playing a new piece.- Он сказал, что играет новую пьесу.
( действие происходило в более широкий отрезок времени, но являлось главным
для говорящего).
б) для выражения запланированного действия в будущем, когда вступает в силу
правило
согласования времен:
Ann said she was meeting Andrew on Monday. - Анна сказала, что встречается
с Эндрю в понедельник.
3. Past Progressive не употребляется с глаголами, которые нельзя использовать
в группе Progressive, вместо этого глаголы употребляются в Past Simple.
To love - любить, to believe - верить, to see - видеть
To like - нравиться, to wish - желать, to hear - слышать
To forget - забывать, to remember - помнить
To hate - ненавидеть, to need - нуждаться
To know - знать , to understand - понимать
To want - хотеть, to be - быть, находиться
Look at - смотреть на … Listen to - слушать можно употреблять в Past

Progressive.
While they were talking she was listening to him very attentively.
Обратите внимание!
а) Действия, выраженные глаголами в главном и придаточном предложениях, не
равны
по длительности- одно длилось дольше, чем другое. Действие, которое длилось
дольше,
следует выражать глаголом в Past Progressive, а действие, которое длилось
более
короткий период времени, следует выражать глаголом в Past Simple.
Маша писала ( длилось дольше) письмо, когда вошел (длилось короче) в комнату
её отец.
Masha was writing (Past Progressive) a letter when her father entered (Past Simple)
the room.
б) Когда действия главного и придаточного предложений следуют друг за другом,
то глаголы главного и придаточного предложений употребляются в Past Simple.
Когда она вошла в комнату, он выключил телевизор.
(Действия, выраженные глаголами вошла и выключил, следуют друг
за другом.) - When she entered the room he turned TV off.
Past Simple or Past Progressive

Example: I was working upstairs when the accident happened. (work, happen)
He … book and … to read. (open, start)
We … the music, when suddenly the electricity … off. (enjoy, go)
Everyone … quietly. Suddenly they ... noise. (talk, hear)
When I … the doorbell, I ... downstairs. (hear, run)
The conductor … the contract when the manager … . (check, call)
When she … the news, she ... to cry. (hear, begin)
The students … a test when the bell ... . (write, ring)
Conducting
Conducting is more than waving your arms in front of the band. The conductor has two
primary responsibilities:
To start the ensemble, to establish a clear, uniform tempo, and keep it throughout the
performance.
To help the musical quality of the piece (expression, dynamics, cues).
There are many different conducting styles.
The starting position is important .
Your upper arms should be away from your body. They should be slightly in front. Your
forearms should be parallel to the ground. Your palms should show a little bit and your
fingers should be up.
Your upper arms should be slightly away from your sides, elbows out, but not too far.
(If you feel like you are doing the little birdie dance, you are out too far). Your hands
should come in and should line up with your arm pits.
Conducting a down beat:
The solid line is the down beat.

The dotted line is the rebound.
Moving your arms from the shoulder, bring your hands straight up, so
that your wrists are at about eye level. All of the palms of your hands should
show. Your elbow should not change position much, if at all. This is the prepa-
ration position to conduct the down beat. To conduct the down beat simply
bring your hands back to the starting position. Quickly flick your fingers down
to hit the focal point. This little flicking motion determines the actual beat.
5 rules for conducting

1: All beats are down beats.
2: All beats strike the focal point.
3: All beats rebound.
4: All rebounds are equal in all ways to the down beat
5: The size of the rebound depends on the speed of the music.
A good conductor is mindful of the rebound. If the rebound is too large, the conductor
must rush to get back to the focal point. If the rebound is too small, the conductor may
be forced to pause to get back in tempo, confusing the beat and the musicians.
Rebounds, and thus downbeats, determine the speed of the music. Smaller downbeats
are used for faster music, larger downbeats are used for slower music. The reason for
this is because in fast music you don't have time to move your hands too far, and in
slow music you do. To try otherwise is a waste of energy.
When conducting a two pattern, conduct the down

beat but instead of coming straight back up, veer to
the side. Beat two brings the hands back to the focal
point and then straight up again.
The Three pattern, also known as 'Down-out-

up' is a combination of the two pattern and the
one pattern. The first beat is a one pattern,
which goes down and rebounds staright up.
The second beat goes out, similar to the
beginning of the two pattern. The third beat
finishes the two pattern.
The four pattern is one of the most commonly used patterns. When
learning the pattern, say to yourself 'down-down-out-up'. This pat-
terns follows the same trend as previous ones. The four is the
same as the three pattern but the four has an extra down at the
beginning.
This is the 'down-down-reverse-around' pattern. The first
two beats are simple downbeats, but the third beat
rebounds in a circle towards the outside. The circle contin-
ues around until beat four. At beat four, give a flick of the
wrist at the focal point (your hand should be there) and
rebound up.
This pattern has a weak fourth beat. It is very useful in con-
ducting the last half note on the last two beats of a meas-
ure. This patterns is good for building up to a new phrase or
as part of a dynamic change. This pattern is generally not
used over and over, but instead only as needed.
The 'Thump' pattern is good for very fast music. The first
beat comes to the focal point at an angle. The second beat
slides in on a plane with the focal point. The third beat
slides back across the focal plane to where the first beat
ended. The fourth beat retraces the first beat back up. The
pattern doesn't rebound, but still accentuates all the beats,
hitting the first beat especially strongly (freeze on beat 1 for
a moment).
This pattern is mostly wrist movement (because of the fast
speed). Because your hands go in, watch out that your
arms stay apart (or your hands will run together and mess
up the tempo).
This is another four pattern. This is larger

pattern, one good for moderate and slow
music. Beat one comes down and,
instead of rebounding up, goes across
the chest, curving up (think 'over a hill' )
and down (think 'into a valley') then
hangs bit at beat two. The right hand then
slides in a long curve into beat three
which is out, away from the body on the
other side of the conductor. Beat four
slides in and up to prepare for beat one.
DO NOT MIRROR HANDS, at least for the entire pattern. (Crossing hands is a no-no.)
If you want to use the left hand, only use it for beats three and four. After beat four
drop the left hand to your side or stomach to leave room for the right hand, which will
shortly be crossing your body.
This is a pattern good for more formal groups, orchestras, choirs, and symphonic
bands. This pattern can be used in marching band for, say, a ballad.
The legato pattern is another four pattern. It is
good for legato music with soaring phrases.
When conducting this expressive pattern use

only the right hand (don't mirror). The pattern is
similar to the above pattern in that it crosses the
body for beat two and extends away from the
body on beat three.
The wrist is much more relaxed for this pattern.
From beats two to three the wrist leads, 'pulling'
the pattern out. The wrist leads again from three
to four, 'pulling' the pattern up.
The size of the pattern is fairly large since most legato music has a slow or moderate
tempo.
A marching band conductor would most likely never use this pattern on the field. This
is another pattern which is suited better for symphonic bands, vocal groups and
orchestras.
Humour
A Player's Guide for Keeping Conductors in Line (by Donn Laurence Mills)
If there were a basic training manual for orchestra players, it might include
ways to practice not only music, but one-upmanship. It seems as if many
young players take pride in getting the conductor's goat. The following rules are intend-
ed as a guide to the development of habits that will irritate the conductor. (Variations
and additional methods depend upon the imagination and skill of the player.)
1. Never be satisfied with the tuning note. Fussing about the pitch takes attention away
from the podium and puts it on you, where it belongs.
2. When raising the music stand, be sure the top comes off and spills the music on the
floor.
3. Complain about the temperature of the rehearsal room, the lighting, crowded space,
or a draft. It's best to do this when the conductor is under pressure.
4. Look the other way just before cues.
5. Never have the proper mute, a spare set of strings, or extra reeds. Percussion play-
ers must never have all their equipment.
6. Ask for a re-audition or seating change. Ask often. Give the impression you're about
to quit. Let the conductor know you're there as a personal favor.
7. Pluck the strings as if you are checking tuning at every opportunity, especially when
the conductor is giving instructions. Brass players: drop mutes. Percussionists have a
wide variety of dropable items, but cymbals are unquestionably the best because they
roll around for several seconds.
8. Loudly blow water from the keys during pauses (Horn, oboe and clarinet players are
trained to do this from birth).
9. Long after a passage has gone by, ask the conductor if your C# was in tune. This is
especially effective if you had no C# or were not playing at the time. (If he catches you,
pretend to be correcting a note in your part.)
10. At dramatic moments in the music (while the conductor is emoting) be busy mark-
ing your music so that the climaxes will sound empty and disappointing.
11. Wait until well into a rehearsal before letting the conductor know you don't have the
music.
12. Look at your watch frequently. Shake it in disbelief occasionally.
13. Tell the conductor, "I can't find the beat." Conductors are always sensitive about
their "stick technique", so challenge it frequently.
14. Ask the conductor if he has listened to the Bernstein recording of the piece. Imply
that he could learn a thing or two from it. Also good: ask "Is this the first time you've
conducted this piece?"
15. When rehearsing a difficult passage, screw up your face and shake your head indi-
cating that you'll never be able to play it. Don't say anything: make him wonder.
16. If your articulation differs from that of others playing the same phrase, stick to your
guns. Do not ask the conductor which is correct until backstage just before the concert.
17. Find an excuse to leave rehearsal about 15 minutes early so that others will
become restless and start to pack up and fidget.
18. During applause, smile weakly or show no expression at all. Better yet, noncha-
lantly put away your instrument. Make the conductor feel he is keeping you from doing
something really important.
It is time that players reminded their conductors of the facts of life: just who do conduc-
tors think they are, anyway?
(Donn Laurence Mills is the NSOA contributing editor. He holds music degrees from
Northwestern University and Eastman School of Music. A conductor and music educa-
tor, he is also the American educational director for the Yamaha Foundation of Tokyo.)
What else do you need to play the violin?
Find the English for:

подставка, обечайка, струны, дека, дужка, колки, гриф, колковый механизм
Practice

1. We have difficulties ... reading music.
2. His hands couldn't span ... a full octave on the piano.
3. It's hard to get tickets ... his concerts and recitals.
4. They're not standing ... the stage.
5. It's an exercise ... transposition.
6. He protested ... the Vietnam War.
7. Reggae music was popularized ... Bob Marley.
8. A good conductor is mindful ... the rebound.
2. Quiz:
1. A two-pronged metal device used by musicians to provide, when tapped, a fixed
pitch.
a) tuning fork b) cadenza c) metronome d) harp
2. Percussion insrtument consisting of a series of graduated wooden bars that are
struck with mallets.
a) xylophone b) triangle c) trombone d) recorder
3. Musical notation far a multipart composition
a) choreography b) screenplay c) script d) score
4. In music - art of directing instrumentalists or singers
a) versification b) choreography c) conducting d) improvisation
3. Match verbs with their descriptions:

a) Popularize b) Pluck c) Interpret d) Improvise e) Influence f) Incidental music
1 - To make something widely liked or appreciated

2 - To pull sharply at the strings of a musical instrument [+ at]
3 - To perform a part in a play, a piece of music etc in a way that shows your feelings
about it or what you think it means.
4 - To act or compose something, play, song, or piece of music, without any prepara-
tion
5 - To persuade or sway somebody
6 - Music played during a play, film etc. in order to give the right feeling.
Fill in the neccessary verb in appropriate form:

1. Bob Marley ... Reggae music in the 1970s.
2. Someone at the strings of an old guitar.
3. Wagner's orchestral music much ... Bruckner.
4. You can't be a good jazz musician if you can't ...
4. Describe how you would arrange a popular folk song for recording with the
singers and instruments of your choice.
What does the conductor do with the orchestra?

a) leads b) guides c) directs
What does the soloist do?
What does a concertmeister do?

гаммы, арпеджио, абсолютный слух, вступление (голоса, инструмента), чувство
ритма, синкопированный, не в тон, сцена, музыка соответствует словам,
развлекать, гармонизовать, оркестровка, аккомпаниатор, деревянные духовые
инструменты, провести по струнам, фоновая музыка, быть под влиянием кого-то,
ронять палочки, группа ударных;
превосходство, настройка инструмента, пульт, ронять ноты, выбор программы,
взмах (затакт), сурдина, комплект струн, трость, посадка, прослушивание,
кульминация, штрихи, ударная доля, отскок (отдача), смена динамики,
двухдольная схема дирижирования., параллельные жесты.
Active vocabulary:
scales sense of rhythm viola bow accompany

arpeggios out of tune drumsticks reed
perfect pitch strike the keys mouthpiece entrance
sight -reading woodwind class recital soloist
focal point rebound a two pattern wrist
transposition harmonize orchestration deaf
accompanist incidental music mute climax
Keys:
violin - bow
1. 1 - in; 2 - x ; 3 - to; 4 - on ; 5 - on ; 6 - against; 7 - by; 8 - of 2. 1 - a; 2 - a; 3 -
d; 4 - c
3. a) - 1; b) - 2; c) - 3; d) - 4; e) - 5; f) - 6; g) - 7; 1. - popularized; 2 - was plucking; 3 -
influenced; 4 - improvise

Unit 5. A few errands (hi-fi)
Patric : I'm just going to take records for the disco to Записи
the leisure centre . Do you want anything while I'm досут
there?
Victor: Yes, what a good idea! There are a lot of things
I need to do for the disco, as a matter of fact. Let me
see... We need to prepare all the hi-fi... So... аппаратуру (high fidelity)
Patric: Hold on! If you want me to do lots of things ,
write them down on a piece of paper, or I'll forget
something.
Victor: All right. First of all check circuits on amplifier проверь соединения (ход
and all.Replace leads and jackplugs on all micro- тока); усилитель; провода
phones. Then... разъёмы
Patric: Hurry up ! I don't want to miss the bus .
Victor: Ovehaul cassette recorder, clean and осмотри (отремонтируй)
demagnetise heads, fit new recorder deck and stylus... размагнить головки; пульт
Patric: I only wanted to take records for the disco, and
now I need a lot of time to do all that...
Victor : And finally sort out balance of speakers; cor- настроить;
rect distortion on left channel, strip and check wires искажения; зачистить и
leading to phono input sockets; test all connections. протестировать провода ;
Patric: I have already prepared all yhe gear for the идущие к разъёмам входа
disco .Though I didn't check circuits on amplifier - it
works properly. I've sorted out balance of speakers;
corrected distortion on both channels, checked wires to
phono input sockets, though I haven't tested all con-
nections yet.
Say if the statement is right or wrong. right wrong
Patric is going to make records for the disco to the leisure centre.
There are a lot of things he needs to do for the disco.
Patric walks to the centre.
The amplifier works well.
Perfect - действие начатое некоторое время назад
и завершившееся к определенному моменту времени
Present
He has already written letters today.
Have/Has + V+ed/3col
Past
He had already written letters by 5 o'clock yesterday
Had + V+ed/3col
PRESENT PERFECT
we, I, they, you have

he, she, it has Past Participle
Действие в НАСТОЯЩЕМ ЗАВЕРШЁННОМ ВРЕМЕНИ завершилось к настоящему

моменту, (результат "на лицо").
Eg. I have just tuned my instrument. - Я только что настроил мой инструмент.
Use the verbs in brackets in Present Perfect:

1. They … (buy) new gear.
He … just (go) out.
My uncle … (spend) all money on his new guitar.
They already … (have) a concert.
The sound engineer just … (crank) up the volume
2. - Kate : Have you ever ... to New York?
- Sophie: New York? No I've never ... there. Have you?
- Kate: Yes. In fact I've just ... back from there. I'm doing some consultancy work
there and I've ... at least six weeks there in the last year.
- Sophie: That sounds fabulous. Have you ... to the top of the Empire State
Building?
- Kate No, I ... yet. I haven't ... the ferry to Ellis Island either. I've just ...
work so hard. Though I have ... dinner at Sardi's and ... a Broadway show.
Have you ever ... to New York?
a) flew b) went c) goed d) been
No I've never ... there.
a) been b) went c) was d) existed
In fact I've just ... back from there.
a) been b) gone c) came d) come
and I've ... at least six weeks there in the last year.
a) past b) passed c) spent d) spend
Have you ... to the top of the Empire State Building?
a) flown b) sat up c) grown up d) gone up
No, I ... yet.
a) haven't b) don't c) not d) won't
I haven't ... the ferry to Ellis Island either.
a) taken b) swam c) jumped over d) driven
I've just ... work so hard.
a) looked b) seen c) must d) had to
though I have ... dinner at Sardi's
a) had b) taken c) seen d) served
and ... a Broadway show.
a) taken b) watched c) seen d) starred in
PAST PERFECT TENSE
we, I, they, you Had Past Participle

he, she, it
Для выражения прошедшего действия, которое уже совершилось до

определённого момента времени в прошлом. PAST PERFECT представляет
собой предпрошедшее время, так как оно выражает действие, прошедшее по
отношению к моменту, также являющемуся прошедшим.
a) Обозначениями времени by 7 o'clock (к 7 часам), by Monday (к понедельнику),
by the end of the year (к концу года), by that time (к тому времени):
They had finished the work by the end of the month. - Они закончили работу к концу
месяца.
b) Другим (более поздним) прошедшим действием, выраженным глаголом в Past
Simple:
When we got to the cinema the film had already started. - Когда мы пришли в кино,
фильм уже начался.
Момент, до которого совершилось действие, выраженное в PAST PERFECT,
не всегда указан в том же предложении.
When I got home the house was very quiet. Everybody had gone to bed.
- Когда я пришел домой, в доме было тихо. Все легли спать.( до того, как я
пришел домой)
Use the verbs in brackets in Past Perfect:
1. He asked me if I … (have) breakfast.

2. He was pleased to meet Dave again. He … (know) him for ten or eleven years,
and they … (play) together in London many times.
3. She realized that she … (do) nothing since the contest
4. He did not know what … (happen).
What Is Karaoke?
Karaoke is just fun and is a great form of audience participation for

any special event, bar or club.
Karaoke is based on the Japanese word that means "empty orches-
tra". "Empty" comes from the first part of the word kara meaning
"open" or "empty" (as in karate) and "oke" is a slang word for orches-
tra. In Greek theatre, the orchestra is the space where the chorus
stood. The start of karaoke was people in an audience getting up and singing with live
bands. Cartoons of the forties and fifties had a similar look to today's karaoke with the
"follow the bouncing ball" theme.
As karaoke became popular in a few clubs, those clubs became jammed packed with
people, by both those who participated and those who watched. This was great for
club owners whose bar profits sky-rocketed but not for those who wanted to sing.
Although it is fun to sing to a standing-room only packed club, it was not fun if you only
got to sing once or twice in a four hour show. Club owners who did not have karaoke
saw what was happening, and the demand for additional shows and show hosts. The
crowds spread out to additional clubs. Today those people who like to sing still come
out and participate in a karaoke evening. There are a lot of people who love to sing
and become rather good with some coaching.
Karaoke technology, with it's "on screen" lyrics prompting you with color change to
keep on tempo, key change capabilities on demand for transposition, and an always
willing band with thousands of songs in their repertoire, have eliminated the need for
the time sacrifice to perform with a live band. You can come out and perform whenev-
er you feel like it!
1. What is Karaoke?
2. What capabilities does Karaoke have?
3. Do you like Karaoke?
4. What are the advanages of Karaoke?
The Sound of Music

«The hills are alive with the sound of music
With the songs they have sung
For a thousand years.»
Oscar Hammerstein II (1895–1960), U.S. lyricist and librettist.

Song lyric.
Practice
1. Use the proper forms of the verbs in the brackets :
Ferenz List
Ferenz List, the famous composer and pianist, was a very
kind man. This story shows how rond he was. Once there
lived a poor girl with her mother and a younger brother. The
girl (study )1 music and (be)2 very talanted. One day her
brother (catch)3 a cold and (fall)4 ill. They (send for)5 doctor
bet they (be)6 so poor that they (can)7 not (pay)8 for his visit
and the medicine he (prescribe)8.
So, the girl (think)10 of a plan. She decided that she (tell)11
the people that Ferenz List (teach)12 her music for some years already. "If the people
(learn)13 about List it (attract)14 them to my concert and I (be able)15 to earn some
money to keep my brother." And so she (do)16.
But one day while she (look)17 throug a newspaper she (see)18 a notice which
(read)19 that the famous composer Ferenz List (be going)20 to give concerts in their
town. The girl was afraid that if List (learn)21 that she (tell)22 the people a lie. He
(tell)23 everybody that he never (see)24 her.
As soon as List (come)25 to their town the girl (go)26 to him and (tell)27 him the
whole story. After she finished List said, "(Sit)28 down to the piano and (play)29 for
me!" While she (play)30 list (make)31 some remarks and at the end of the class he
(say)32 to the girl, "Now , when somebody (ask )33 you who your teacer (be)34 you
(can)35 (say)36 it's me, because I (give)37 you my class today!"

записи, проверь соединения (ход тока) ,усилитель, провода, разъёмы, усилитель,
аккорды, конкурс, публика, хор, транспонирование, смена тональности, публика,
репертуар, гастроли, пьеса, удерживать темп, лира, участвовать

1. Karaoke is based ... the Japanese word that means "empty orchestra".
2. Club owners saw the demand ... additional shows and show hosts.
3. Today people like to sing and participate ... a karaoke evening.
3. Quiz:
1. What major rock festival became a symbol of the 1960-s American counterculture.
a) Avignon Festival b) Woddstock Festival c) Edinburgh Festival d) Cannes Festival
2. Deepest, or lowest, male singing voice.
a) tenor b) soprano c) alto d) bass
3. Unaccompanied sung melody.
a) chant b) aria c) romance d) song
2. Secular musical performance that does not require scenic representation.
a) pantomime b) minstrel show c) opera d) concert
1. 1) What are the numbers of: a frame (backframe &
rim); a keyboard; strings; lid props; a lid
2. 2) Add the missing parts: a music desk; a key-
board lid and fallboard locks; pedals and casters; -
3. (translate them
into Russian.)
3) Is it an upright or a grand piano?
4) What does an all-important element in piano
sound production the soundboard do?
4.
5.
Technical Specs of your Casio Keyboard:

Карты памяти SmartMedia™
Совместимость с General MIDI
76 клавиш чувствительных к касанию
чувствительность к касанию - Touch sensitive
140 стилей встроенные тембры - Tones
Встроенные композиции
790 тембров (встроенные тембры)
Синтез новых тембров - Synthesizer function lets you create and store your own sounds.
Песенный секвенсор - an on-board sequencer
Флеш-память (хранение сэмплов, файлов SMF, новых тембров, стилей, эффектов,

композиций, предустановок мгновенного вызова, регистрационных данных)
Кнопка "фортепианный режим" (позволяет мгновенно переключаться в режим фортепиано
с оптимальными настройками)
PITCH BEND и колесо модуляции
FLOPPY DISK - Встроенный дисковод позволит дополнительно использовать такие

носители информации, как дискеты.
Динамики: (усиление басов) - Built-in Speakers
INTERNET DATA EXPANSION SYSTEM (Система обновления данных

через Интернет) Internet Data Expansion System lets you download
new sounds including sound wave, patterns, songs, and keyboard set-
tings over MIDI from casiosongs.com (www.casio-music.ru)
Make up a story on the pic-
ture
try to use idioms:
take place - To happen; occur;
above all - Of first or highest

importance;
give an ear to or lend an ear to

- To listen to.
take part - To have a part or

share; join.
keep up - 1.To go on; not stop;

continue. 2.To go at the
same rate as others.
make the best of -

To do something you do not
like to do and not complain;
accept with good humor.
stand in awe of - To look upon

with wonder; feel very
respectful to.
Traslate the sentences with the above idioms:
Janet always stands in awe of the rock group.

The girl did not like to wash dishes but she made the best of it.
The teacher asked Dick to stop bothering Mary, but he kept it up.
John had to work hard to keep up.
The king lent an ear to the complaints of his people.
Children need many things, but above all they need love.
The accident took place only a block from his home.
Children should give an ear to their teachers advice.
Active vocabulary:
leisure centre hi-fi amplifier distortion

input sockets contest chords sight reading
improvize prompt capabilities participate
audience orchestra chorus lyrics
tempo key change transposition repertoire
Key : 1. 1- studied, was studying; 2 - was; 3 - caught; 4 - fell; 5 - sent for 6 - were;
7 - could; 8 - pay; 9 - had prescribed; 10 - thought; 11- would tell; 12 - had taught;
13 - learn; 14 - will attract; 15 - will/shall be able; 16 - did; 17 - was looking; 18 saw
19 - read; 20 - was going; 21 - learnt; 22 - had told; 23 - would tell; 24 - had never
seen; 25 - came; 26 - went; 27 - told; 28 - sit; 29 - play; 30 - was playing; 31 -
made; 32 - said; 33 - asked; 34 - is/was; 35 - can; 36 - say ; 37 - have given.
2 . 1 - on; 2 - for; 3 - in
3. 1 - b; 2 - d; 3 - a; 4 - d
4.
1) a frame (backframe & rim) - 5; keyboard -3; strings - 4; lid props 2; a lid - 1
2) пюпитр, крышка клавиатуры, педали
3) A grand piano. (пианино или рояль)
4) Reflects and amplifies the vibrations of the strings
How do you understand the quotations:
«Please do not shoot the pianist. He is doing his best.»

Oscar Wilde (1854–1900), Irish poet, playwright, and wit,
1883.
Personal Impressions of America "Leadville".
«Everyone is eager to play the piano, but few are willing

to carry it on.»
Anonymous.
Mexican proverb.
«I hit the piano with my elbow sometimes because of a certain sound I want to hear.
You can't hit that many notes with your hands.»
Thelonious Monk (1920–1982), U.S. jazz composer and pianist.
«The music teacher came twice each week to bridge the awful gap between Dorothy
and Chopin.»
Attributed to: George Ade (1866–1944), U.S. playwright, journalist, author, and
humorist.

Unit 6. Interview
Jane: How long have you been a singer, Andy?
Andy: About six years now.
Jane: How did you start?
Andy: I had a band with some friends when I was st school.
Jane: Did the other members of the band go into pop-music too?
Andy: No, they didn't. But I still see them sometimes. I saw them
last month. I was giving a concert in London and they came to see
me. We had a good jam-session together.
Jane : What does a jam-session mean?
Andy: A spontaneous get together of sidemen freely improvising on
pop tunes.
Jane: What do they do?
Andy: They all work in offices in London.
Jane: When did you make your first record?
Andy: That was two years ago.
Jane: Did it do very well?
Andy: No, it didn't, but the next record reached number one. It was a success.
Jane: Does your voice ever crash on you?
Andy: All the time, but still I have never cancelled a show. A lot of people are cancel-
ing shows. I've done a lot of concerts where I've had no voice.
Jane: Is your downtime mainly spent in the recording studio?
Andy: In the studio, or trying to get an acting gig. I'm always working. I have never
taken a vacation and I never think about it…(fakes a crying voice) now you've planted
the seeds and I wanna vacation! (laughs). At five-thirty until eight in the morning is my
downtime.
Jane: What are you doing at the moment?
Andy: I'm writing a song.
Jane: When will we hear the song?
Andy: When we record it.
And what will you do after the song?
Andy : I'll take a holiday. It's been a busy year.
Fill in the gaps:

Andy ___ a singer for six years now. He ____ when he ____ at school. He ___ a
band with three friends. His friends ____ into pop-music, but Andy still ___ them
sometimes. He ___ them last month. He ___ a concert in ___ and his friends ___ to
see him. They all ___ in offices in London. Two of them ___ in banks. Andy ___ his
first record ___ years ago. It ___ very well, but his next record ___ number one. He
___cancelled a show. His downtime ___mainly spent in the recording studio. At the
moment Andy___ a song. We ___ it after they record it. And what about the future for
Andy? It ___ a busy year for him so he ___ a holiday.
Say if the statement is right or wrong: right wrong
Andy has no experience as a vocalist.

He has never been to England.
His voice has never crashed on him.
Andy has no sence of humour.
FUTURE PROGRESSIVE (CONTINUOUS)
Будущее продолженное время, как правило употребляется со словами

определяющими какой-то период времени, в который будет происходить
действие:
tomorrow at this time - завтра в это время, at 5 o'clock - в 5 часов, this time next
Monday - в это время в следующий понедельник и т.д.
Это время употребляется для выражения незаконченного действия, которое

будет совершаться в определённый момент в будущем.
а) точным указанием времени, или определённый момент в

будущем с обстоятельствами типа: at …… o'clock, at this time и т.п.
Например: At this time tomorrow the boys will be playing incidental music.
б) либо с придаточным предложением, в котором другое действие,
выражено глаголом в Present Indefinite.
Например: When we arrive in London, it will be probably raining.
Don't ring her up at 12 o'clock. She will be writing her composition then.
FUTURE PROGRESSIVE также означает будущее событие, в котором говорящий

уверен, это не предварительная договорённость, а то, что говорящий знает
заранее: I'll be seeing Kate tonight. - Я встречусь с Кейт сегодня вечером
She will be jumping for joy when she has you present.. -Она будет прыгать от
радости, когда получит твой подарок Future Progressive - естественное, с точки
зрения говорящего, течение событий:
He'll be waiting for you. Он тебя будет ждать.

Другой распространенный случай употребления FUTURE PROGRESSIVE:
когда мы говорим о действии в развитии, в определенной точке будущего или на
протяжении периода времени:
I'll be thinking of you all day. - Я буду думать о тебе весь день
Tomorrow at this time, I'll be lying on the beach in the sun instead of shivering here
with cold.
- Завтра в это время я буду лежать на пляже под солнцем вместо того, чтобы
дрожать здесь от холода.
FUTURE PERFECT образуется при помощи вспомогательных глаголов
shall, will + have + 3 форма смыслового глагола.
Будущее завершенное время, это то время, при котором действие завершится
(закончится) к определённому моменту в будущем.
а) обозначениями времени с предлогом by, before,
when (by 5 o'clock к 5 часам, by that time к тому времени и т.п.)
Например: Your instrument will have been with me by the time you return. Don't worry.
We shall have finished all the work by 6 o'clock this afternoon.
I shall have read this book by tomorrow evening.
Thousands of people will have seen this exhibition by the end of the month.
They will have done half of the journey when they reach the Volga.
б) другим будущим действием, выраженным придаточным предложением
условия и времени с глаголом в настоящем времени, который переводится
на русский язык, глаголом в будущем времени.
Например: You will have finished your work before the bell rings.
1.Переведите с русского на английский.
Я уже запишу эту песню до того, как ты придешь.
К концу месяца я сыграю пять концертов.
Я выучу серенаду завтра к 7 часам.
2. Put the verb in brackets into FUTURE PERFECT:

The boy ... (perform) at the show.
The boy ... (traspose) the music .
The girls ... (modulate) the prelude.
Put the verb in brackets into the correct Future tense:

Mr. Brown … (to be) in the dining-room at 8 o'clock tomorrow.
I … (to see) you on Friday.
Your instrument … (to be) with me by the time you return. Don't worry.
They … (to climb) the mountains all the month.
Don't ring her up at 12 o'clock. She… (write) her composition then.
At this time tomorrow the boys of our group … (play) ambient music.
When we arrive in London, it probably …(rain).
We ... (finish) all the housework by 6 o'clock this afternoon.
I … (read) this book by tomorrow evening.
Thousands of people … (see) this exhibition by the end of the month.
They … (build) this house long before the end of October.
They … (do) half of the journey when they reach the Volga.
I … (write) my composition by the time you come back.
We've got five days in London: we are leaving on Monday; but I'm sure
that we… (see) everything of importance by then.
I hope it … (stop) snowing by tomorrow morning.
It is nearly autumn, soon the leaves … (change) colour.
Let's wait here; Tower Bridge … (open) in a minute to let that ship through.
Don't ask her anything. Next thing she … (tell) you she is right.
Music Festivals
Music Festival is a celebratory event when musicians perform

over several days at some place. Among the most famous
festivals are Edinburgh Festival, Eisteddfod, and Woodstock
Festival.
Edinburgh Festival includes several annual and biannual arts
festivals which take place in Edinburgh, Scotland, during the
months of August and September, attracting audiences from
around the world. It was founded in 1947 and is now recognized as one of the world's
most important celebrations of the arts. It presents international and Scottish perform-
ers of theater, music, dance, and opera in all of Edinburgh's major theaters and con-
cert halls.
Eisteddfod (Welsh, "a sitting of learned men"), national music and literary festival held
each summer in Wales to promote Welsh language, literature, music, and customs.
The week-long ceremony is a revival of the ancient Welsh custom of meeting bards, or
minstrels, for competition among themselves.. The history of Eisteddfod dates to the
beginning of the Christian era.
Woodstock Festival, rock festival that took place near Woodstock, New York, on
August 15, 16, and 17, 1969, and that became a symbol of the 1960s American coun-
terculture and a milestone in the history of rock music. It is connected with the move-
ment of hippies and who characteristically rejected materialism and authority, protested
against the Vietnam War, supported the civil rights movement, dressed unconvention-
ally, and experimented with sex and illicit drugs.
During the monumental three-day event some of the greatest musicians of the 1960s
performed, including Janis Joplin, Ravi Shankar, Arlo Guthrie, and Joan Baez as well
as the bands The Who; Crosby, Stills, Nash and Young; The Jefferson Airplane; The
Grateful Dead; Sly and the Family Stone; and Creedence Clearwater Revival. Singer
Joe Cocker and guitar player Carlos Santana, up to then unknown, became overnight
stars. Jimi Hendrix, the final act of the festival, played a freeform solo guitar rendition
of "The Star Spangled Banner."
What is a music festival?

How often does Edinburgh Festival take place?
When was it founded?
What does Eisteddfod mean?
What is Woodstock Festival?
What other festivals do you know?
At what festival you will see this instrument?
What musical instrument is in the picture?

1) a bagpipe
2) a bugle
3) a cornet
4) a fiddle
Practice
Find the English for: джем - сейшн, «пропал голос, студия звукозаписи,
играть(бренчать) на гитаре, исполнить перед кем-либо, праздничное событие

1 Does your voice ever crash ...you?
2 You must take part ... this work.
3 You needn't ... go there.
4 The fingering you use for a passage can make the difference ... being able to play
something, and not being able to.
5 He is similar ... me.
6 She likes to perform ... public.
2. Match verbs with their descriptions :
a) Appear b) Compose c) Hark back d) Jam e) Perform f) Play, Thrum, Noodle (slang),
Twang, Strum
1 - if something new or surprising, it happens or exists for the first time
2 - to write a piece of music
3 - to be similar to something in the past : music that harks back to the early age of
jazz.
4 - to play music informally with others without practising first
5 - to do something to entertain people, for example by acting a play, or playing a
piece of music:
6 - to play an instrument such as a guitar by moving your fingers up and down across
its string

1. Several neo-punk bands have recently ... on the music scene.
2. I've never seen Òthello' ... so brilliantly.
3. Chris will be ... in public next week.
4. Could you ... a piece for the concert?
3. Humour:
A musician arrived at the pearly gates. - (Небесные врата)
``What did you do when you were alive?'' asked St. Peter.
`Ì was the principal trombone player of the London Symphony
Orchestra''
`Èxcellent! We have a vacancy in our celestial symphony orchestra
for a trombonist. Why don't you turn up at the next rehearsal.''
So, when the time for the next rehearsal arrived our friend turned up
with his heavenly trombone.
As he took his seat God moved, in a mysterious way, to the podium and tapped his
baton to bring the players to attention. Our friend turned to the angelic second trom-
bonist (!) and whispered, ``So, what's God like as a conductor?''
`Òh, he's O.K. most of the time, but occasionally he thinks he's von Karajan.''
4. Write part of a fan letter from a young teenager to a musician or a pop star.
1. 4. Find in the picture:
a)treble registeres; keyboard; bass regis-
2. teres;bellows; basses
3. b) What instrument is in the picture?
4. c) What is the name of Russian accordion?
5.
Make up a story on the picture. Use the words:

a wunderkind, his only toys were trumpets, drums, flutes and anything out of which he
could get musical sounds, the strongest desire of the boy's nature, to have him proper-
ly trained, to tour all over the world, to be honoured, to perform, to grow older, to
remain
Active vocabulary:
jam-session rehearsal guitarist awkward

take place bards minstrels overnight stars

1. big deal {interj.}, {slang}, {informal} (loud stress on the word "deal") Trifles; an unim-
portant, unimpressive thing or matter. So you became a rock star - big deal! -
2. down and out {adj. phr.} Without money; without a job or home; broke. Poor
Sam lost his job after his wife had left him; he is really down and out.
3. fall behind {v.} To go slower than others and be far behind them. When the
campers took a hike in the woods, two boys fell behind and got lost. Frank's lessons
were too hard for him, and he soon fell behind the rest of the class. Mary was not
promoted because she dreamed too much and fell behind in her lessons.
4. find fault {v. phr.} To find something wrong; complain; criticize. She tries to
please him, but he always finds fault. They found fault with every note I played.
Compare: JUMP ON, PICK AT.
5. louse up {v.}, {slang} To throw into confusion; make a mess of; spoil; ruin. When
the man who was considering John's piano heard that the basement was cracked,
that was enough to louse up the sale. Fred's failure in business not only lost him
his business but loused him up with his wife. The rain loused up the picnic. See:
MESS UP, FUCK UP.
Translate into English:

1. Записал новую песню? - Подумаешь!
2. После неудачи с гастролями у него дело труба (он сел в галошу).
3. Ты отстаёшь от своей группы, послушай!
4. Они всегда придирались ко мне.
5. Он провалил своё выступление.
Keys : 1. 1 - on; 2 - in; 3 - x; 4 - between; 5 - to; 6 - in 2. a) - 1; b) - 2; c) - 3; d) - 4

e) - 5; f) - 6; 1.- appeared 2.- performed 3.- performing 4. - compose
4. a) treble registeres - 3; keyboard - 1; bass registeres - 4; bellows - 2; basses - 5
b) accordionn c) bayan

Unit 7. Singing
At the rehearsal
Victor: We need some more singers in the band. Andy is good
singer but if we had more voices ...
Rosy: We all want to sing - Patric, Tom and me. Andy can teach
us.
Victor: Before you choose the date for your first big concert or
gig, you need to find out about singing before you step out onto
the stage. Andy , will you tell us about the basics of singing.
Andy: First, you should get yourself aligned - that is, line up all
your body parts to get ready to sing and then explore your
breathing. Breathing while singing isn't that much different from
how you breathe normally, but you have to take in more air and use more air. When
you get the air flowing, you can explore the tone of your voice.
Patric: What about the posture?
Andy: Posture is important to sing well. If all the parts for singing are lined up correct-
ly, you stand a really good chance of getting wonderful sounds to come flying out of
your body.
Rosy: We must work on the vocal tone?
Andy: Vocal tone is important, because you want the best sounds to come out of your
mouth. By exploring exercises on tone, you can make changes to your sound.
Sometimes, singers try to imitate their favorite famous singer. What you want to do is
sound like yourself. Your voice can be just as fabulous as that famous singer. You just
have to practice to develop it.
Tom: Will you tell us a few words about categories of voices?
Andy: Most singers want a category to belong to. You may have heard of the cate-
gories of singers - soprano, mezzo, tenor, and bass.
Victor: What do we need to do to start singing?
Andy: You need to make a plan of practicing it on a regular basis. Your goal is to
make your singing voice sound like one smooth line from top to bottom. Your voice
may have a few bumps and wiggles as you work your way up and down. Work with
specific areas of the voice called registers chest voice, head voice, middle voice, and
falsetto. The first step in the workout for the voice is to find he different registers of the
voice and then notice what each feels like. After you find them, you want to try and
smooth out the transition between the registers. You may find that your chest voice
and head voice feel miles apart. Finding new songs to sing can be overwhelming.
Breathing while singing is much different

from how you breathe normally.
Posture is important to sing well.
The categories of singers are soprano, falsetto, tenor, and bass.
The first step in the workout for the voice
is to find the registers of the voice.
MODAL VERBS (МОДАЛЬНЫЕ ГЛАГОЛЫ)
Modal Verb Equivalents (English) Examples (Russian) Examples
Can
(could) He can do the Он сам может сделать
translation himself. перевод.
_____________________________________________________________________
To be able (to) He is able to play 3 Он может (в состоянии)
concerts a day. сыграть 3 концерта в день.
_____________________________________________________________________
May You may take my Ты можешь взять мой
(might) dictionary. словарь.
_____________________________________________________________________
To be allowed (to) He was allowed Ему разрешили пользоваться
to use a sampler. сэмплером.
_____________________________________________________________________
Must You must take part in Вы должны принять участие
this work. в этой работе.
To have (to) He had to come at 5. Он должен был прийти в 5
часов.
They will have to Им придётся изменить темп.
change the tempo.
_____________________________________________________________________
To be (to) We are to leave in a Мы должны уехать через
few days. несколько дней.
They were to begin the Они должны были начать этот
contest at 5. конкурс в 5 часов.
_____________________________________________________________________
Evidently
Evidently, she did not Она, вероятно (должно быть),
know my voice. не знала моего голоса.
_____________________________________________________________________
Probably She will probably come Она, должно быть, придёт
tomorrow. завтра.
_____________________________________________________________________
To be likely She is likely to come.

Она, вероятно (должно быть),
придёт.
_____________________________________________________________________
Should Ought (to) You should come and Вы должны (вам следует)
help him. прийти и помочь ему.
You ought to be more Вы должны (вам следует)
______________________polite_____________________быть вежливее_.
Shall You shall never come Вы никогда больше сюда не
here again. придёте.
_____________________________________________________________________
Will She will not speak. Она не желает говорить.
_____________________________________________________________________
Would I would not let you go Я ни за что не отпущу вас.
_____________________________________________________________________
Dare To have the How dare you speak to Как вы смеете разговаривать
courage to do me in that tone? со мной таким тоном?
something
_____________________________________________________________________
Need You needn't go there Вам не нужно идти туда в таком
in such mood. настроении.
Модальные глаголы не обозначают действия, а выражают отношение к нему, то

есть возможность, вероятность или необходимость его совершения. Само
действие обозначается инфинитивом смыслового глагола, следующим за
модальным.
саn может выражать:
1) физическую возможность или способность совершить действие: I am very tired.
I can't work any longer. - Я устал. Я не могу больше работать. Сan you do the trans-
lation? - Вы можете сделать перевод?
2) Возможность, вытекающую из определённых обстоятельств: I couldn't get the
book because the library was closed. - Я не смог взять книгу, поскольку библиотека
была закрыта.
3) Сомнение, удивление: Can (could) she have said that? - Да неужели она это
сказала? She cannot be waiting for us. - Не может быть, что она нас ждёт.
may может выражать:
1. разрешение: May I use your recorder? - Можно воспользоваться
магнитофоном?
2. предположение или сомнение: He may be right. - Он, возможно, и прав.
I may have lost my key somewhere here. - Я, возможно (может быть), потеряла
ключ где-то здесь.
3. возможность, вытекающую из обстоятельств: You may see some interesting
things in this museum. - В этом музее можно встретить интересные вещи.
4. упрек ( обычно в форме might): You might have come earlier. - Вы могли бы
прийти и пораньше.
must может выражать:
1. Долженствование, обязанность: I must do the work as soon as possible. - Я
должен (обязан) сделать эту работу как можно быстрее.
2. Приказание: You must leave the room at once! - Вы должны немедленно уйти из
комнаты!
3. Предположение, граничащее с уверенностью:He must have come. - Он, должно
быть, уже пришел.
Модальные глаголы should, ought (to) могут выражать:
1. моральный долг, обязанность: You shouldn't break the promise. - Не следует
нарушать данное обещание. You ought to be more polite to your parents. - Тебе
следует быть повежливее со своими родителями.
2. совет: You should be more careful. - Вам следует быть осторожнее.
*Если действие относится к прошедшему времени, в отрицательных
предложениях употребляется эквивалент evidently: Evidently, she did not know it. -
Она, должно быть (вероятно ), этого не знает. Если действие относится к
будущему времени, используются эквиваленты probably, to be likely to: She is not
likely to come. - Она, вероятно
(должно быть), не придет. She will probably come. - Она, вероятно (должно быть),
придет.
Fill in: may, must, might

1. … I borrow your reed?
2. It isn't certain, but he … be a millionaire in two years' time.
3. That … be Charlie. He said he would be here about now.
4. You … make a little less noise.
5. It was so quiet that one … hear a leaf drop.
6. You were lucky. You … have broken your fretboard.
7. - Do you want to find Helen? You … phone her.
8. … you go to bed late at night?
9. You … to be more kind to your children.
to be (to) выражает долженствование, вытекающее из соглашения, плана:
The plane is to arrive at 5 o'clock - Самолет должен прибыть в 5 часов.
to have (to) выражает долженствование вытекающее из обстоятельств: It was
late and we had to take a taxi - Было поздно,и нам пришлось взять такси.
shall обозначает строгое предупреждение, приказание, угрозу: You shall never see
me again. - Вы никогда меня больше не увидите.
В вопросительных предложениях shall употребляется для того, чтобы спросить о
желании лица, к которому обращаются: Shall I help you? - Мне Вам помочь?
Shall he go there? - Идти ему туда?
will выражает намерение, настойчивость, упорство: She will not speak. - Она не
желает говорить. The knife won't cut. - Нож не режет( не будет резать).
would обозначает настойчивость, упорство: I asked him not to bang the door, but
he would do it. Я просил его не хлопать дверью, а он все продолжал хлопать.
dare употребляется в значении "иметь смелость, осмеливаться что-то делать":
You dare address me in that tone! - И вы осмеливаетесь обращаться ко мне таким
тоном! He didn't dare to meet his uncle. - Он не смел встречаться со своим дядей.
need выражает необходимость, нужду: He didn't need to be told twice.
Ему не нужно было говорить дважды.
Fill in: to be (to), to have (to), shall, will, would, dare, need.
1. You … do the first two exercises.
2. You … to work in groups of three.
3. She will … to complete this at home.
4. … do it?
5. They … not play.
6. How … you come to my house!
7, My mother asked me not to cry, but I … do it.
How to Listen To Music? Melina Esse
"I want the students to understand the difference between

listening and hearing. In order to succeed in the course,
they would need to practice directed listening: "listening for"
rather than "listening to."
My solution to this problem involved getting the students to
articulate knowledge they already intuited, and devising an
exercise that helped them to think critically about their famil-
iar modes of listening. Since most students have moved
their bodies to music at some point in their lives, I decided
to build on this bodily knowledge the very first day of class. After introducing the basics
of meter, I presented a number of musical examples, from country waltzes to jazz stan-
dards, from marches to funk, and advised students to listen for the percussion section.
As we listened, we tried to translate our sense of strong and weak beats into arm
gestures and quiet taps. The students quickly overcame their embarrassment and
stifled laughter and soon were moving and counting out the meter together as a group.
Then I asked them to compare and reflect upon the listening to music as background
and this more focused mode of listening. I asked them to put on a song of their choice
and to record their impressions of the piece, then to listen a second time solely to
determine the song's meter. At our next meeting, we discussed their findings and
found that in many cases, the song itself seemed to change depending on how we
were listening. We also learned that listening in a concentrated manner often helped
explain our emotional and bodily responses to music because meters often carried
complex associations. The students were able to understand meter's role in organizing
their musical experience.
We proved the effectiveness of this approach as the semester progressed. Not only
were my students able to talk about a piece's meter, they were able to approach tech-
nical language with confidence. More importantly, however, they learned that there are
a variety of listening modes. Many students were surprised to find that focused listen-
ing could be a limiting experience, one that drowned out other (perhaps more impor-
tant) aspects of the music. By "listening for," they realized that they could choose to
"listen for" any variety of things, even for pleasure. This emphasis on the listener's role
in creating musical meaning had several unexpected benefits. In later discussions of
the musical "happenings" of John Cage and others, students easily grasped the fluidity
of these musical works by recalling their first task: they already knew that listening to
the same piece in different environments and in different ways altered their experience
of the "music itself." By making this leap, the students were able to understand a very
difficult concept, that the musical work comes to life only through the act of perform-
ance and through our attention to it.
What is focuced listening?

How did the students leared to listen?
What is the role of the song's meter in listening?
What conclusion does the author come to finally?
Practice
Find the English for: Основы пения, выйти на сцену, распрямиться, ощутить своё
дыхание (голос), поза, освоение упражнений с голосом, категории голосов, на
постоянной основе, грудной регистр, переходы между регистрами, вслушиваться,
преувеличенные жесты, музыкальные "хеппенинги" Джона Кейджа

1. You need to make a plan of practicing it ... a regular basis.
2. Make your singing voice sound like one smooth line from top ... bottom.
3. Make a plan of practicing it ... a regular basis
2. How to become a star

There are many ways of becoming a star and one of
them is getting an 'education' at Fame Academy
(Фабрика Звёзд).
Fame Academy is a popular reality show set in a kind of
boarding school. Its aims are:
· to find a new all-dancing, all-singing star between 18
and 35 years old;
· to train the students to sing, dance and give performances;
· to watch the students' progress and see how well they cope!
Twelve young singers are chosen from many contestants and for ten weeks they sing
and dance and give performances. Each week a student is expelled untill three are left
and one of them becomes the winner.
What would you do to win?
1. tin ear {n. phr.} 1. A lack of sensitivity to noise. The construction noise doesn't
bother Fred; he's got a tin ear. 2. A lack of musical ability; state of being tone deaf.
People with a tin ear make poor choir members.
2. be nuts about {v. phr.} To be enthusiastic or very keen about someone or some-
thing; be greatly infatuated with someone. Hermione is nuts about modern music.
3. far cry {n.} Something very different. His last recording was a far cry from his first
music. The first phonograph could record, but it was a far cry from a modern
recorder.
4. go with {v.} To match; to look(sound) good with. Guitar goes with her balalaika.
The woman bought a purse to go with her new shoes.
5. have to do with {v. phr.} To be about; be on the subject of or connected with.
The book has to do with musical instruments..
To know or be a friend of; work or have business with. - Usually used in negative
sentence. Tom said he didn't want to have anything to do with the
new boy. I had nothing to do with the party; I was home that
night.
Find the equivalents:
Ему медведь на ухо наступил.
Она без ума от рок - н -рола.
Это небо и земля, лёд и пламя.
Иметь отношение к чему-либо.
Не иметь ничего общего с чем-либо.
3. What are the names of famous Classical composers :

1. He was the prince of Classical music. Movies, plays, musicals,
and countless books have been written in honor of him. He was the
prodigy to end all prodigies. He wrote his first symphony when he
was 5. He toured Europe as a novelty act with his father and sister.
Luckily his natural skill with music carried him. A student of Haydn,
he blossomed into a top notch opera writer, which was his bread
and butter for many years. But a man doesn't live by bread and
butter alone: his later teaching carrier was not sufficient to support
him, and he died a poor man.
2. He was another child prodigy. At the age of 14 he became an
assistant teacher and the organist at Hanover. A disturbed, angry person himself, his
music was fiery, and emotional.At the end of his life he was almost deaf. His sym-
phonies and chamber pieces reached new levels of expressiveness. He is known for
bridging the gap between Classical and Romantic style music.
3. From the age of 13 he studied music abroad. His greatest talent was with the
piano, which he excelled at. His pieces for the piano were ground breaking, pushing
the limits of what a piano was thought to be capable of. He completely changed how
the piano was treated in music.
4. He was undoubtedly one of the most talented pianists in the world history. He
played in concerts at the age of nine. In his time he was a master showman. His
shows were almost always sold out. He was so grandiose with his concerts that he
ordered a second piano be on stage in case he were to break the first one while
playing.
4. Jokes:
- Where is a tenor's resonance?

- Where his brain should be.
- What's the definition of a male quartet?

- Three men and a tenor.
Active vocabulary:
Breathing posture vocal tone focused mode of listening

registers of the voice a sampler to articulate chest voice
strong and weak beats head voice fame academ contest
Keys : 1. 1 - on; 2 - to; 3 - on; 3. 1. Wolfgang Amadeus Mozart(b.1756 d.- 1791)

2. Ludwig Von Beethoven (b. 1770 - d.1827)
3. Frederic Chopin (b.1810 - d.1849)
4. Franz Lizt (b. 1811 - d. 1886)
Make up a story on the picture. What is your attitude to different music tastes?
Use verbs : to enjoy, to grow bored, to irritate, to stir up, to get angry, to put up with

Unit 8. Recording studio
Victor: Patric, you attended a recording school course,
didn't you?
Patric: Yes, I did. I studied to become a live or broadcast
sound engineer but I didn't have enough money to finish it
and have never had even a bedroom studio yet.
Victor: What did you study?
Patric: Microphone Technology, The Use of Microphones,
Loudspeaker Drive Units, Loudspeaker Systems, Analog
Recording, Digital Audio, Digital Audio Tape Recording,
Sound System Parameters, Mixing Consoles, Equalization,
Compression, Noise Gates, Delay and Reverberation, Disk Recording, CD & DVD-
Video, Perceptual Coding.
Victor: I think your recording studio is one of the most important investments you will
ever make. It might not cost as much as a house or apartment, or even a smart new
car. But it will make the difference between your success and failure in music.
Patric: Yes, but you must choose the right equipment for your home recording studio,
from microphones, through mixing consoles, multitrack recording equipment, mastering
and monitoring and you can make pro-quality recordings right from the start - even
with a basic setup. Choose the wrong equipment and you may spend years sorting out
a studio setup that is right for you. And all the time you spend doing that, you could
have been recording.
Victor: So what questions we have to answer to make our own studio ?
Patric: Which two microphones you need, and why your choice will be good for the
next twenty years ...
Why you only need one keyboard instrument to get started, and what it should be ...
Why a sampler will be your best friend in the studio ...
Why every modern studio needs DJ-style equipment, as well as traditional instruments,
if you want to compete... What computer equipment you need ...
How to avoid equipment and software that will not help you and will only hold you
back ...
How to choose a MIDI sequencer that is easy to use, yet has all the features a pro
would need ...
How to choose an audio sequencer ...
Why you should avoid soundcards - there's a better way!
How to set up a home studio that is a cut down version of a professional studio, in
price but not in quality.
What to look for in a mixing console ...
Why a digital console is better than an analog console...
The advantage of an all-in-one hard disk workstation ...
What outboard equipment you need.
Patric studied to become a live or broadcast sound engineer.

Good equipment can make the difference between success
and failure in music.
A modern studio doesn't need any DJ-style equipment.
Soundcards is not the better way for recording.
COMPARISON OF ADJECTIVES (СТЕПЕНИ СРАВНЕНИЯ ПРИЛАГАТЕЛЬНЫХ)
1) Односложные и двусложные
Positive (положительная) Comparative (сравнительная) Superlative (превосходная)
Short - короткий Shorter - короче (the) shortest - самый короткий
Fat - толстый Fatter - толще (the) fattest - самый толстый
Happy - счастливый Happier - счастливее (the) happiest - самый счастливый
2) Многосложные
Positive (положительная)Comparative (сравнительная) Superlative (превосходная)
Interesting - интересный More interesting - более (the) most interesting
интересный самый интересный
Comfortable - удобный More comfortable - (the) most comfortable
более удобный самый удобный
3) Некоторые прилагательные образуют степени сравнения не по правилу. Их

нужно запомнить.
Positive (положительная) Comparative (сравнительная) Superlative
(превосходная)
Good - хороший Better - лучше The best самый лучший
Many - много More - больше The most больше всего
Bad - плохой Worse - хуже The worst самый плохой
Little - маленький Less - меньше The least самый маленький
Much - много More - больше The most больше всего
Old - старый Older - старее The oldest старый
Old - старший Elder - старше The eldest самый старший
4) При сравнении степени качества одного предмета со степенью качества

другого употребляется союз than (чем).
This hall is larger than that. - Этот зал больше, чем тот.
Two heads are better than one. - Две головы лучше, чем одна.
5) При сравнении двух предметов одинакового качества употребляется союз as

… as (так же … как, такой же … как). Прилагательное в положительной степени
ставится между as … as.
This book is as interesting as that. - Эта книга такая же интересная, как и та.
Home studio (Pro Tools)
As you begin to build your home studio, you'll notice a
long list of components - okay, let's go ahead and call
them "extras" - lurking within the Top Four of computer,
interface, software, and monitors.
All your expensive recording gear is useless if you have
nothing to plug into it. This is where the input device
comes into play. An input device is, simply, any instru-
ment, microphone, or sound module that produces or delivers a sound to the recorder.
Instruments
Your electric guitar, bass, synthesizer, and drum machines are typical of the instru-
ments that plug into the interface and represent most of the input devices that you use
in your studio. The synthesizer and drum machine can plug directly into the Line In
inputs of your interface, whereas your electric guitar and bass need a direct box (or its
equivalent) to plug into first. (In the case of your Digidesign interface, you need to use
one of the inputs with a preamp.) A direct box is an intermediary device that allows you
to plug your guitar directly into the mixer without going through your amp first.
Microphone
A microphone (abbreviated mic) enables you to record the sound of a voice or an
acoustic instrument.
Sound modules
Sound modules are special kinds of synthesizers and/or drum machines. What makes
a sound module different from a regular synthesizer or drum machine is that these
contain no triggers or keys that you can play.
Deciphering direct boxes
A direct box (or DI box, short for Direct Induction) is used to connect your guitar or
bass directly into the mixer without having to run it through your amp first.
Perusing the preamp
Microphones produce a lower signal level than do line-level devices (synthesizers, for
example); thus they need to have their signal level increased. For this purpose, you
need a preamp, a device that boosts a microphone's output.
Meeting the Mixer
The mixer is the heart of any recording system. Although the mixer may seem daunt-
ing with all its knobs, buttons, sliders, and jacks, it's really one of the most interesting
and versatile pieces of equipment that you'll have in your studio. With the mixer, you
can control the level of the incoming signal, adjust the tonal quality of an instrument,
blend the signals of two or more instruments together, and a host of other things.
Managing the MIDI controller
If you're like most home recordists, you'll end up using some sort of MIDI controller in
your studio. The
purpose of this piece of equipment is to allow the various MIDI instruments to commu-
nicate and synchronize with one another.
Recognizing the Recorder
The recorder is where your music actually gets, well, recorded. In Pro Tools, your
recorder consists of your computer and the software.
The computer
No matter which platform of computer you choose (Mac or PC), the stuff you find
inside your computer plays a major role in determining how smoothly (or how less-
than-smoothly) your Pro Tools system runs.
Recording process
Part of the recording process involves making adjustments to a sound either before or
after it's been recorded. This is the job of the signal processor. Signal processors
come in three varieties - equalizers, dynamic processors, and effects processors.
Equalizers enable you to adjust the frequencies of a sound in a variety of ways.
In effect, you tell the frequencies to:
Go away: You can get rid of unwanted noise or an annoying ringing by reducing select
frequencies.
Come hither: Add life or presence to an instrument by bringing the best characteristics
of that instrument forward.
Scoot over: You can make room within the frequency spectrum for each of the instru-
ments in your mix by selectively boosting or cutting certain frequencies. The three
main types of EQ are graphic, shelf, and parametric.
Dynamic processors are devices that regulate the amount of sound or energy that gets
passed through them. This amount is defined as the dynamic range - the range
between the softest sound and the loudest sound. Dynamic processors come in three
varieties: compressors/limiters, gates, and expanders. I explain each variety in the fol-
lowing sections. Dynamic processors are used in a variety of ways. Use them to:
· Control the signal going into the mixer and recorder
· Tame the levels and correct the effects of an erratic musical perform-ance
when mixing
· Optimize the levels of the finished stereo tracks when mastering
Effects are historically used to mimic real-world situations. As a home recordist, you
will likely discover a great affinity toward your effects proces-sors because they enable
you to create sonic environments without having to
rent some great recording room. For example, imagine dragging your drums and all
your recording equipment into a large cathedral, setting them up, and spending several
hours getting the mics placed just right.
Reverb is undoubtedly the most commonly used effects processor. Think of delays as
the recording studio's version of an echo. A chorus effect can make one instrument
sound like several. A flanger (pronounced flanj-er) effect is similar to chorus effect in
sound except that the flanger gets its sound from delaying part of the affected sound in
relation to the original, rather than altering its pitch. Pitch correction, like its name sug-
gests, is used to correct an out-of-tune note.
To record and mix music, you need to be able to hear it (hey, obvious things need love
too). Monitors make this happen. You can use headphones or speakers as monitors;
most home studios use both.
After you mix your music, you need to put your final music on something. The two
most common media for Pro Tools users are CD and raw computer files.
What are the components to build your home studio?

What does the recording process involve?
What are the varieties of dynamic processors?
What is the most commonly used effects processor?
mouthpiece valves bell
crook tuning slide
The Band Period (for music colleges)
The following rules apply:
- four minutes after the late bell, you are to be seated and warming up properly with
slow scales and long tones.
- YOUR music must be brought to all of the rehearsals in a well-maintained music
folder.
- You must bring your instrument in working condition (reeds, mouthpiece, etc.)
to every rehearsal.
- When the Conductor stops the band it is to provide instruction for all students. When
this instruction is directed at a certain section or group the remaining band members
should silently practice fingerings of upcoming passages in the band music or by prac-
ticing the fingering chart on the final page of the band method. Percussion players will
practice silent sticking of the band music or rudiments on their thigh or as "air hits."
- The Band rehearsal is a "non-talking" classroom.

- Concert Attendance is MANDATORY. If a concert is missed due to an unavoidable
situation you must have a note delivered to the conductor at least two weeks ahead of
time unless it is an emergency. In that case a note must be submitted by the next
band rehearsal.
1. This article is about the band of: 1) string instruments 2) wind instruments 3) folk
instruments
2. Name the warming up exercises.
3. Translate into English : имитировать пассажи, папка для нот, трости,
обязательный, заранее, форс-мажорный,
пробовать аппликатуру, инструктаж, беззвучный, предстоящий, мундштук,
остальные оркестранты
MUSIC SLANG
Автор статьи: Мари М.

Сленг в музыкальной и околомузыкальной тусовке стал
предметом не одной научной работы лингвистов как на
Западе, так и у нас на родине. Язык этот специфичен и
непостоянен, термины меняют как свою форму, так и свое
значение, есть как общие для всех стилей и направлений
обозначения, так и узкоспециализированные. Изменяются
виды звуковых носителей, появляются новые стили и
направления, а вместе с этим происходит постоянный процесс обновления
словарного запаса музыкального знатока.
Большая часть альтернативного сленга, безусловно, заимствуется из английского.
Это объясняется тем, что именно там в процессе формирования и становления
альтернативной культуры возникали новые понятия, требующие адекватных
названий. В России альтернативная культура в целом, как и весь шоу-бизнес,
строится по образу и подобию американской масс-медиа. Звукозаписывающие
компании, музыкальные магазины, клубы и даже радиостанции и телеканалы
пользуются уже придуманными "словечками", хотя нередко появляются и наши,
чисто русские обозначения, абсолютно непереводимые на любой другой язык.
Говорить обо всем разнообразии и специфике альтернативного сленга, который
охватывает все сферы деятельности музыкальной индустрии, в рамках одной
статьи не представляется возможным.
Sound-producer (саунд-продюсер)
Продюсер звука. Для России это понятие зачастую звучит диковато, у нас и
звукорежиссер есть не у каждой группы, а кто такой саунд-продюссер они знать
не знают. На Западе же представить себе студийную работу без этого персонажа
невозможно. В его обязанности входит создание индивидуального саунда группы,
определение формата и коррекция материала в его рамках. Саунд-продюсер
решает, как должен звучать коллектив, какие инструменты лучше всего подойдут
для той или иной композиции, каких сессионных музыкантов стоит привлечь для
записи. Так же он формулирует задачу саунд-дизайнера, который
непосредственно работает со звуком и записанным материалом. Обычно саунд-
продюсерами становятся музыканты, закончившие свою сценическую карьеру
или работающие в студии с family-коллективами (т.е. с молодыми группами,
играющими в стилистике команды саунд-продюсера). Из самых ярких family-
продюсеров можно выделить лидера группы "Limp Bizkit" Фреда Дерста, который
участвовал в записи не менее двух десятков альбомов различных коллективов.
Формат
Ряд специфических характеристик музыкального материала, который определяет
стиль рекламной компании группы, наиболее подходящий лейбл для выпуска
альбома. Так же формат влияет на концертную деятельность коллектива: выбор
площадок и возможных альянсов. Группы, которые нельзя отнести к тому или
иному формату, зачастую остаются за бортом масс-медиа. Такую группу сложно
раскручивать, когда как группе, находящейся в формате, намного проще обрести
свою публику, а, значит, и популярность. Неформатные группы чаще всего
сотрудничают с независимыми лейблами, которые не работают по законам
форматов. Неофициальные лейблы часто идут на эксперименты со звучанием
группы, что часто становится весьма интересным материалом и для мажорных
лейблов.
Sound (саунд)
Звучание. Характерный звук музыкального коллектива или отдельной
композиции. Когда говорят о саунде, то, прежде всего, речь идет о
функциональных задачах инструментов, балансе и аранжировках.
Sound-designer (звукорежиссер)
Разрабатывает непосредственную программу записи и обработки звука,
выполняя тем самым техническую сторону работы саунд-продюссера.
Осуществляет сведение и мастеринг записанного материала.
Sound-engineer (звукоинженер)
Человек, непосредственно отвечающий за проведение записи (расстановка
микрофонов, отстройка звука, запись и пр.).
Mastering (мастеринг)
Работа звукорежиссера над уже записанным материалом. После отбора лучших
вариантов партий каждого инструмента и сведения их в единую композицию
начинается мастеринг - частотная коррекция трека для соответствия его
последующей аппаратуре прослушивания. По желанию коллектива либо саунд-
продюсера трек может быть пересведен в иное звучание (remastering).
(A)live (лайв, алайв)
Живая запись музыкального материала во время концерта или запись в студии
всех инструментов одновременно. Такая запись делается по двум причинам: во-
первых, она значительно экономит средства коллектива, а во-вторых, лайв
передает живое общение музыкантов с залом и особое концертное эксплиситное
настроение.
Low fidelity, lo-fi, low-fi (лоу-фай)

Низкое качество. Принципиально плохо сделанная запись, объясняющая свое
качество концептуальностью трека и лучшей передачей его настроения. Lo-fi
изначально, как противоположность Hi-Fi символизировал то звучание, которое
получалось у коллективов в процессе домашних записей. Позже этот способ
работы со звуком взяли на заметку саундпродюссеры и сделали из него целый
культ. Группы, творящие в традиции старой школы, зачастую прибегают к лоу-фай
звучанию, чтобы подчеркнуть преемственность своей музыки.
Foh, front of house (фронтовик)

Звукорежиссер, основная задача которого следить за звуком в зале; на хороших
площадках есть, кроме того, звукорежиссер сцены, который следит за тем, чтобы
музыканты хорошо слышали себя в мониторах.
Soundcheck (саундчек, чекаться)

Проверка и отстройка звука перед началом концерта, все участвующие в
программе команды чекаются, т.е. строят звук в порядке очередности их
выступления. Это делается для того, чтобы не возникало больших пауз между
коллективами.
Practice
Find the English for: транслировать, громкоговоритель(колонки), микшерский пульт,
шумы, многополосная запись, обработка (звука), звуковые карты, увеличить
уровень звука, звуки льються, слушать музыку, греметь из динамиков (колонок),
поставить запись (воспроизвести), скрывающийся под названием, подключаемые
приборы, подключить напрямую, рычаги и клавиши, пропустить через усилитель,
усилить уровень сигнала, настроить тембр инструмента, смешать тембры, куча
других вещей, избавиться от шума, «иди сюда»

1. That is a cut down version ... a professional studio.
2. You need to put the final professional finish ... your recordings.
3. Home Studio includes Internet links ... the best sites.
4. Crank ... the volume!
5. In the percussion instruments pitch is entirely up ... the resonator
6. For this purpose, you need ... a preamp.
7. You can get rid ... unwanted noise.

a) Crank up b) Dub c) Float d) Mesh e) Prerecord f) Pulse g) Pump
1 - informal to make music louder
2 - dubbed, dubbing ( especially BrE) to make a record out of two or more different
pieces of music or sound mixed together.
3 - To move slowly and lightly through the air
4 - To fit or work closely or well together
5 - to record music, a radio programme etc. on a machine so that it can be used later
6 - coloured lights pulsing in time with the music
7 - To sound loudly

1. Music ... out from the loudspeakers overhead.
2. ... the volume!
3. It's music in which classical harmonics ... with the hypnotic
rhythms of jazz.
4. The sound of her voice came ... down from an upstairs
window.
3.
Violin Jokes
- What's the difference between a violin and a viola?
-There is no difference. The violin just looks smaller
because the violinist's head is so much bigger.
- Why are viola jokes so short?

- So violinists can understand them.
String players' motto: "It's better to be sharp than out of tune.''

(to be sharp - at slightly too high a pitch: at higher than the usual pitch and therefore
slightly out of tune o ex. She's singing sharp.)
Did you hear about the violist who bragged that he could play 32nd notes?
(хвастался)
The rest of the orchestra didn't believe him, so he proved it by playing one.
4. The arrangements, production, sound engineering and mixing are still to be

organised. Think of the records that you have got at home. Choose the record-
ing company or label that you would write to, in the hope that they will help you
to find a studio and market your record.
Active vocabulary:
a recording school sound engineer broadcast loudspeaker
acoustical delay digital analog recording
resonator sustain frequency valve
to plug to mimic ['maimik} reverberation
Keys: 1. 1 - of; 2 - on; 3 - to; 4 - up; 5 - to; 6 - x; 7 - of 2. a) - 1; b) - 2; c) - 3; d) - 4;

e) - 5; f) - 6; g) - 7; 1. - pumped; 2 - Crank up; 3. - mesh; 4. - floating

Unit 9. Recorder
Jane: Victor, I want to start learning music. What is the easiest and least expensive
instrument can be recommended?
Victor: I think that the end-blown flute, or Recorder is the best choice. This true musi-
cal instrument of the woodwind family is played everywhere. Though uncom-
plicated, delicate tones can be produced on it from the very beginning.
The next day.
Jane: I've bought a recorder. What shall I start whith first?
Victor: The Player should sit erect in a relaxed position, with the head up and elbows
slightly away from the body. The recorder should be placed on the lower lip, without
touching the teeth. Don't press on the mouth. The left thumb covers the hole in the
back of the recorder. The top three holes in front are covered by the first three fingers
of the left hand. The little finger is not used. The right hand thumb helps to support the
instrument with the four fingers of the right hand covering the four lower holes. See if
you can balance the recorder on your lower lip and your thumb. Fingers are slightly
bent, covering holes with the finger "pads", not finger tips. Holes must be covered
completely in order to produce the correct tone.Drop your finger on the hole like a
hammer.
Jane : And what about the blowing?
Victor: " Tis easy as lying ..." a soft breath, that used in talking or soft singing is all that
is needed to make the recorder respond. Too much breath force will cause a shrill
sound. Low notes take a softer breath than high notes. Each note should be
"pronouced" with the tongue, as if saying 'dah' or 'du'.
Jane: Thanks for your first lesson. What shall I learn next?
Victor: You need to learn what music is, how it is written .
Jane: Music is something you can hear. Music is a nice sound. Music is many kinds
of nice sounds.
Victor: Will you tell me how music sounds can be differed?
Jane: Some music sounds are HIGH, some are LOW, some music sounds are LONG,
and some are SHORT.
Victor: That's right. You know enough for the start.
Say if the statement is right or wrong. right wrong
Recorder is the same as end-blown flute .

The recorder should be placed between the lips.
Low notes take a softer breath than high notes.
Some music sounds are tall, some are short.
ACTIVE
Simple - действие происходит в Continues - действие находится в разви-
неопределенный момент времени тии в определенный момент времени
V + s(he, she, it) Do/Does Are/Is + V + ing
He writes notes every day. He is writing notes now.
V + ed/2 col Did Was/Were + V + ing

He wrote notes yesterday. He was writing notes at 5 o'clock yesterday.
V + Will/Shell Will/Shell+be+V+ ing

He will write notes tomorrow. He will be writing notes at 5 o'clock
tomorrow.
Perfect - действие начатое некоторое время назад и заве-

ршившееся к опреде-ленному моменту времени
Have/Has + V+ed/3col
He has already written notes today.
Had + V+ed/3col
He had already written notes by 5 o'clock yesterday
Will/Shell+Have + V + ed/3col
He will have written notes by 5 o'clock tomorrow.
PASSIVE VOICE - СТРАДАТЕЛЬНЫЙ ЗАЛОГ
Рассмотрим пример:
People invent new computer programmes every day. (действительный залог)
New computer programmes are invented every day.(страдательный залог)
Captain Cook discovered Australia. (действительный залог)
Captain Cook was sent to discover new lands. (страдательный залог)
Страдательный залог образуется с помощью вспомогательного глагола to be в
соответствующем времени и причастия II смыслового глагола.
Причастие II глагола to discover - discovered.
Australia was discovered by Captain Cook. - Австралию открыл капитан Кук.
Captain Cook discovered Australia in 1770. (действительный залог)
Australia was discovered in 1770. (страдательный залог)
В страдательном залоге говорящего мало интересует, кем или чем было
произведено действие, но если это требуется указать, то используются предлоги
by (для одушевлённых предметов) или with (для неодушевлённых предметов).
1. Australia was discovered by Captain Cook. - Австралия была открыта капитаном
Куком.
2. The letter was written with a pencil. - Письмо было написано карандашом.
PASSIVE simple continuous perfect
========================================================================================
Infinitive To be + V3 To be being +V3 To have been+V3
========================================================================================
Present Am Am Have
V Is + V3 Is being + V3 Has been + V3
Are Are
========================================================================================
Past Was Was Had been +V3
Were + V3 Were being + V3 -
========================================================================================
Future Shall Shall
Will + be V3 ------------------------------------ Will have been +V3
Translate from Russian into English:
1. Каждый день в мире изобретают новые компьютерные программы.

2. К концу XX столетия в мире изобретут немало новых компьютерных программ.
3. В прошлом году в мире изобрели немало новых компьютерных программ.
4. Когда мы пришли на экскурсию в компьютерный центр, там изобретали новые
компьютерные программы.
5. Когда ты родился, уже было изобретено немало компьютерных программ.
6. Новые компьютерные программы будут изобретены в компьютерном центре в
следующем году.
7. Когда мы приедем на экскурсию в компьютерный центр, там будут изобретать
новые компьютерные программы.
Love
Music, when soft voices die,

Vibrates in the memory—
Odours, when sweet violets sicken,
Live within the sense they quicken.
Rose leaves, when the rose is dead,

Are heaped for the beloved's bed;
And so thy thoughts, when thou art gone,
Love itself shall slumber on.
Percy Bysshe Shelley (1792–1822), English poet.

"To —".
Fill in verbs in the appropriate form:
RED STRAD'
makes record $1200,000 at Christie's
A Stradivari violin (a) ... yesterday at Christie's for $ 1 200,000 ,
the highest price ever paid for a Strad.
The violin, owned by the Mendelson family, (b) ... in 1720, and,
because, of its colour, it (c) ... as the 'Red Strad'. It (d) ... by
'a professional musician'.
In its years in the Mendelson family, it (e) ... very little,
except by amateurs, but its beautiful tones f) ... by a Japanese violinist
before the auction yesterday.
'It is in very good condition because it (g) ... in a special case' , said Yoshito Ito.
'It (h) ... after very well'.
The violin reached such a high price because of its date of 1720
( the hight of Stradivari's Golden Age),
when his finest (i) ... . Strads (j) ... all over the world for their purity and deep,
clear sound.
Keep, make (2), buy, look, sell, know, admire, demonstrate, play .
Fingering Legend for the Flute - one of the closest relatives of the Recorder
gizmo - device or piece of equipment: a gadget, especially a mechanical or electrical

device considered to be more complicated than necessary.
Musical Instruments
All acoustical instruments possess some kind of RESONATOR. It responds to an
energy impulse by vibrating for a length of time. The frequency of vibration depends on
the size and material of the resonator. If the vibration dies away quickly, the resonator
is DAMPED. A repeating series of impulses will sustain the vibrations. If the resonator
responds to a wide range of input frequency, it is BROADLY TUNED. If the input fre-
quency has to match the frequency of the resonator pretty closely before resonance
occurs, the resonator is NARROWLY TUNED.
Acoustic instruments also require some sort of DRIVER, a mechanism that applies
energy to the resonator in the appropriate form. The driver may be as simple as a stick
(or bare hand), or it may be an elaborate resonant structure itself. If the driver supplies
the energy all at once, it is an IMPULSE driver; if the energy is a repeated stream of
pushes, the driver is often called a SOUND GENERATOR.
Most instruments also possess some kind of

pitch control mechanism. The tuning of an instru-
ment determines the pitch possibilities that the
artist may exploit during the performance. An
instrument's tuning is largely in the manufacturing
process. Pitch controllers may modify the opera-
tion of the resonator, the driver, or both. Some
Fig.1 A simple instrument instruments provide pitch selection by duplication
of tuned structures(flexibility of intonation), others
give the possibility of polyphonic performance.
Fig. 2 A polyphonic
instrument
We can divide instruments into three classes based on the style of driver; the familiar
strings, winds, and percussion instruments.
STRING INSTRUMENTS
The driver or sound generation device of the string instrument is a tightly stretched
string. When the string is excited by a hammerblow, a pluck, or a continuous scrape, it
produces motion with some length, mass, and tension. The motion is complex and
contains energy at many (almost) harmonically related frequencies. This motion is
transmitted to the resonator via the bridge, a light piece of wood supporting one end of
the string.
he resonator of a string instrument is commonly an oddly shaped box or a wide thin
board. The response of the body or soundboard have some frequencies which are
transmitted more efficiently than others. These response peaks are called FOR-
MANTS, and play a very important part in the timbral identity of an instrument.
Fig. 3 A string
instrument
WIND INSTRUMENTS
With wind instruments, the resonator is usually in the shape of a pipe and the energy
goes as a stream of air into the pipe. The driving mechanism is some kind of valve that
periodically interrupts or modulates the air flow. The reed of some woodwinds and the
lips of the brass player are examples of modulating valves. The resonator has almost
total control of the frequency of the instrument. The resonant frequency of a pipe
depends on its length. (The actual mechanism of resonance is a standing wave.) The
pitch control in the winds is usually done by adjusting the length of the resonator.
In the WOODWINDS the pipe length is changed by opening or closing holes along the
side of the instrument. The part of the instrument that extends beyond the open holes
acts as a second resonator, modifying the sound in a manner that changes somewhat
from note to note.
Fig. 4 A wind
instrument.
There are non-pipe wind instruments:

The ocarina is a Helmholtz resonator that is tuned by opening holes in no particular
order. The more holes open, the lower the pitch because the holes add to the vibrating
mass.
The harmonica and accordion have reeds that sound into a rudimentary resonator. The
resonator provides a weak formant, but no pitch control.
In the voice, the resonant structures are an assortment of body cavities, including the
mouth. The volume of these cavities can be changed, producing tunable formants. The
major driving mechanism of the voice is the larynx, containing two loosely stretched
flaps of muscle that can modulate the air flow from the lungs. The frequency produced
is controlled by muscular tension, with no effective feedback from the resonators. The
result is an instrument with independently controlled pitch and timbre. The timbral
range is extended by an alternate driving mechanism, the tongue, which can provide a
variety of noise and impulse inputs to the system.
PERCUSSION INSTRUMENTS
Loosely speaking, a percussion instrument is anything you can hit. If we must make a
generalization, we might say that percussion instruments usually lack a complex driv-
ing mechanism that could be separated from the resonator. The unifying principle is
that impulse energy goes directly to the resonator, which responds with vibrations for a
short period of time.
You can see that there are (at least) three common relationships between drivers and
resonators. We might call these driver controlled, feedback controlled, and resonator
controlled. In the strings and non-pipe winds pitch control is a function of the driver. In
the pipe winds, the resonator and the driver affect each other, producing a pitch suit-
able to both. In the percussion instruments pitch is entirely up to the resonator, since
the driving energy is applied as an impulse.
Peter Elsea 1996
Practice
Find the English for : Продольная флейта, сидеть прямо, не напрягаясь, нижняя
губа, поддерживать инструмент, подушечки пальцев, аукцион, в качестве фона,
размер (музыкальный), сыграть что-либо на инструменте, танцевать под музыку,
голосовые связки, настройка, струнный, форманта, подставка, дека, медные
духовые, тембр, язычковые, отзываться отвечать (об инструменте), вибрировать
от ударов музыки, частоты, изменять поток воздуха, раструб
1. Each note should be "pronouced" ... the tongue.
2. Drop your finger ... the hole like a hammer.
3. The letter was written ... a pencil.
4. I asked them to put ... a song of their choice.
5. I was impressed ... the way the students were able to understand meter's role.
6. He is performing a piece of music ... a musical instrument.
7. I could hear a violin playing a waltz ... the background.
8. We could feel the floor vibrating ... the beat of the music.
9. The frequency of vibration depends ... the size and material of the resonator.
2. What are the names of Russian composers:

1. Son of an upper-middle class family in Russia earned the title "Father of Russian
Music." With training in Russia , Italy , and Germany he wrote many pieces that
absolutely drip the essence of folk songs of the Russian peasants. His music served
as an example for most every Russian composer that came after him.
2. He was born the son of a mining engineer and learned the piano at an early age.
But he did not choose music as his vocation. He studied and became a lawyer. But,
shortly thereafter, he quit the practice and went to write music. His music was powerful
and infused with folk elements. A troubled person, he tried to commit suicide in 1877.
It was 11 years later that he wrote his finest pieces before dying of cholera in 1893.
3. He was the epitome of the Russian patriotic composer. Coming from a well-off fami-
ly, "Rocky" studied at the St. Petersburg conservatory, and received the highest grade
possible. He battled lifelong depression, made worse by his bouts of writer's block. He
alleviated his block with hypnotism and dedicated his 2nd Piano Concerto to his hyp-
notist.

a) Play b) Pitch c) Pipe d) Modulate e) Hold f) Transpose g) Vibrate
1 - to perform a piece of music on a musical instrument.

- to produce music
- put a record/tape/CD (=produce music from it)
2 - if you tune your voice or another sound at a particular level, the sound is produced
at that level
3 - to make a musical sound using a pipe
4 - to move from one key (тональности) to another in a piece of music using a series
of related chords.
5 - to make a musical note continue for a long time
6 - to write or perform a piece of music in a musical key that is different from the one
that it was first written in.
7 - to shake or make something shake continuously with small fast movements: We
could feel the floor vibrating to the beat of the music.
1. I've always wanted to learn to ... the piano.
2. She tried to ... a Bach Prelude.
3. Please ... a tune on your concertina for me. The bedside radio ...ed softly.
4. I could hear a violin ... a waltz in the background.
5. He just sits in his bedroom all day ... records.
6. This song is ... too high for my voice.
7. He ... (using a pipe) a jaunty tune for us to dance to.
8. The vocal cords ...as air passes over them.
4. Describe your experience of learning to play a musical instrument, give rea-

sons why you did it.
1 Harp - A triangular-shaped instru-

ment that has a curved neck and
2 strings stretched between the neck
and the body, at an angle to the
sound box. The modern orchestral
3 harp is large and played by a seated
player.
5.
5
1. What are the numbers of: pedals;
strings; base(pedestal); sound-
board; pillar; neck; tuning pegs
6
2. How many notches can each
7 pedal be set in ?
MOWBRAY The language I have learn'd these forty years,

My native English, now I must forgo;
And now my tongue's use is to me no more
Than an unstringed viol or a harp.
William Shakespeare (1564–1616), English poet and playwright.

Richard II, Act 1, Scene 3.
Woodwinds jokes
- How do you get two piccolos to play in unison?
- Shoot one.
- Why is a bassoon better than an oboe?

- The bassoon burns longer.
- What is the definition of a half step?

- Two oboes playing in unison.
- What's an oboe?
- It's an ill wind that nobody blows good.
- What do you call a bass clarinetist with half a brain?

- Gifted.
- How can you make a french horn sound like a trombone?

- Take your hand out of the bell and miss all of the notes!
There once was a woman who had gone a long time

without so much as the hope of having a relationship.
When she finally picked up a handsome looking guy
and went out with him, her friends were naturally
curious as to how it went.
"Oh, he's fine, I guess, but I don't think
I'll be going out with him again.''
"Oh? Why not?'' asked the friend.
"Well, he's a musician, you know, he plays the french horn,
so I guess it's just habit, but every time we kiss,
he sticks his fist in my rear!''
Active vocabulary:
end-blown flute blowing articulate meter

beats assignment emphasis respond
pitch polyphonic device response
bell transmit volume vibration
driver reed larynx formants
Keys: 1. 1 - with; 2 - on; 3 - with; 4 - on; 5 - with; 6 - on; 7 - in; 8 - to ; 9 - on
2.
1. Mikhail Glinka (b.1804 d. - 1857) 2. Peter Tchaikovsky (b.1840 d. - 1893) 3.
Sergei Rachmaninoff
(b. 1873 d. - 1943)
3. a) - 1; b) - 2; c) - 3; d) - 4; e) - 5; f) - 6; g) - 7
1. play 2. play 3. play 4. playing 5. playing 6. pitched 7. piped
5.
1. pedals - 6 ; strings - 3; pillar - 5; soundboard - 4; base -7; neck - 1; tuning pegs - 2
2. Three - for the sharp, the natural, and teh flat.

Unit 10. Music theory
Jane: Can you give me one more music lesson?

Victor: Sure. What would you like to know?
Jane : I'd like to learn about music language or how to write down music, and read it.
Victor: Music is a sign language. Notes are a part of the language.They show if music
sounds are high or low, long or short. The music staff is another part of music lan-
guage. It is made of five lines. Each line has a name: 1 - E, 2 - G, 3 - B, 4 - D, 5 - F.
Each has a name , too: 1 - F, 2 - A, 3 - C, 4 - E. If we put a note on the staff, it gets a
name - A, B, C, D, E, F, or G. There is a note on every line and in every space and
there notes made with the signs called 'sharps' and 'flats'.
Jane: I read somewhere that in 1817 a Frenchman Sudr introduced a new artificial
language. It was based on 7 music notes (sounds). For example "si" (B) meant yes,
"do" ( C) - no, "re"(D) - and "mi"(E) - or, "do-re" (C-D) - I ... The speech cold be played
on a musical instrumet. But the new language was too difficult to become popular.
Victor: That's interesting.
Jane: And how music can be measured?
Victor: To measure music, we use "measures" .Two bar lines make a box, called a
measure. In each measure there is the same number of beats. The top number at the
beginning at the beginning of the music tells how many beats are in each measure.
Jane: Beats show the length of notes, do they?
Victor: That's right. A one - beat note is called a quarter note,
a two - beat note is called half note, a four - beat note is called a whole note.The beats
in music are always even. We can feel two, three, four, or more beats in a group. This
is called the meter.
The number of beats felt together is the Meter of a song. Each measure "measures"
the beats you feel together. The " time signature" at the beginning of the song tells the
meter . The number of beats in each measure.
Jane : What about silent notes or pauses?
Victor: Those signs are called "rests" and they tell us to stop , and be silent they are
like music notes. There are other music signs:a "slur" - is a curved line that ties two or
more notes together, so that you go smoothly from one note to the next ; a "fermata"
shows that the note under the Fermata is held longer than usual, and others. When
you use music language, what you say should make sense, just as what you say in
English should make sense, just as what you say in English should make sense.
The music staff is a part of music language.

Frenchman Sudr invented a new language.
Two bar lines make a box, called a measure.
The beats in music are not always even.
Basic notation:
The system of notation gives musicians the information they
need to play music as the composer intended it.
The staff is the basis of written music. It consists of 5 lines with four spaces between
them.
This is the treble staff. The treble clef (the

large fancy symbol to the far left) shows the
musician that the staff is treble. Since it
curls around the G line, it is also called a G
clef. The treble staff begns with the first line
as E. Each successive space and line is the
next letter in the musical alphabet. The staff
ends with the last line as an F.
This is the bass (pronounced 'base' ) staff.

The bass clef, also known as the F clef
because it locates the line known as F, is on
the far left. The bass clef uses the same
musical alphabet as treble, but the letters
start in different places. Instead of an E, the
bottom line is a G, and the letters proceed-
dogically from there.
This is a C clef. The C clef
can move on the staff, and
the center of the symbol is
always over C. Depending
on where it is, it is given dif-
ferent names. The note
beside each clef is C.
When the bass and treble clef are combined and con-
nected by a brace (left) and lines, they become the
grand staff. This greatly increases the range of pitches
that can be notated, and is often used in piano
music, due to the piano's wide range.
Grand staff
Measures The vertical lines on the staff mark the
measures. Measures divide and organize
music. The time signature determines how
many beats can be in a measure. The thick
double bars mark the beginning and ends of
a piece of music.
Notes
Different pitches are named by letters. The
musical alphabet is, in ascending order by
pitch, A, B, C, D, E, F and G. After G, the cycle
repeats going back to A. Each line and space
on the staff represents a different pitch. The
lower on the staff, the lower the pitch of the
note.
Notes are centered on the lines or in the spaces between the lines. Stems on notes
above the middle line trail down from the left of the note. Stems on notes below the
middle line stick up on the right of the note. Stems on notes on the line usually go
down except when adjacent notes have flags that go up.
Ledger lines
Ledger lines extend above and below the staff,
allowing for higher or lower notes to be shown
than would otherwise fit on the staff.
Note durations
All notes have length. However,
the amount of beats they get
depends on the time signature.
Sixteenth notes (right) and eighth notes (left) may also look like this.
Single sixteenth and eighth notes have flags, many sixteenth and
eighth notes combine flags into connecting bars.
Sixteenth notes and eighth notes may also combine together. the combina-
tion looks like this picture to the left.
A dot beside a note increases its duration by half its original value.
For example, half notes, in 4/4 time, are worth 2 beats. When a dot
is placed next to the half note, the duration is increased by one (one
being half of the original duration of two) and the resulting duration is
Dotted Notes three beats. The curved line in the picture above is a tie. Ties con-
nect notes that are the same pitch together to create a sustained
note.
Rests are simply places where the musician

does not play. Rests have equivalent values
to corresponding notes of duration. Thus,
there is a whole rest, half rest, quarter rest,
etc., just like normal notes. Rests are always
located in the same vertical position.
Accidentals
Accidentals modify the pitch of a note by increasing or decreasing it by one half step.
Accidentals stay in effect for all notes of the same pitch for the rest of the measure.
Accidentals in the ve ry beginning of the music are key signatures.
Flats (left side of the picture) lower the pitch of the note by one half step.
Sharps (right side of picture) raise the pitch of the note by one half step.
Naturals cancel out any previous sharps or flats. The pitch returns to normal.
Ties and slurs connect two or more notes together. Ties

connect notes of the same pitch, forming essentialy one
longer note. Slurs smoothly connect notes of different pitch.
This means to play the notes without breaks. The first set of
notes above exhibit a tie. The second show a slur.
Articulation
Staccato - Means to play the note very short and detatched.
Accent - Means to hit the note harder and louder.
Marcato - Almost a combination of staccato and accent, provides a sharp

sound.
Tenuto - Hold the note for its full value.
Sforzando - A sudden, strong accent.

Fermata - Hold the note longer, approximately twice its value, or until
conducted to stop.
Dynamics
This symbol is pianissimo, it means play very softly.
This symbol is piano, it means play softly.
This symbol is mezzo piano, it means play moderately soft.
This symbol is mezzo forte, it means play moderately loud.
This symbol is forte, it means play loudly.
This symbol is fortissimo, it means play very loudly.
Also abbreviated Cresc. or written in as crescendo. This sign is the crescen-

do sign, it means gradually become louder
Also abbreviated as Decresc. or written as decrescendo, dim., or diminuen-

do. This sign is decrescendo, it means gradually become softer.
Repeats
These are the begin and end repeat signs. When you reach the second,
go back to the first and repeat the music. These are often accompanied by
first, second and even third endings.
This is a directional marking. It means 'Del Signo'. When you see this in
music, you must go to the sign (below). This marking may also be accom-
panied by 'al coda' or 'al fine'. These mean 'Go to the sign, from there go
to the coda' and 'Go to the sign, from there go to the end' respectively.
Essentially these are big repeat signs.
This is the sign. From here you play to the coda or the end or wherever the
Del Signo directs you.
This is the coda sign. It marks when to go to the special ending, or coda.
Usually you won't go to the coda until after a D.S. al coda.
Time Signatures
The time signatures (also called meter signatures) tell the musician how many beats
per measure there are, and what kind of note gets the beat.
The top number determines how many beats there are per measure. The bottom
number tells what kind of note gets the beat. In this example, 4/4 time, there are
4 beats per measure, and the quarter note (bottom 4) gets the beat. In 3/4 time,
the quarter note would still get the beat, but there would only be 3 beats in a
measure. In 6/8 time, the eigth note gets the beat, and there are 6 beats to a
measure.
The pulse (or meter) is the driving beat in music that we march, feel, dance, clap and
conduct to. First find the beat that seems the strongest, then try tapping along to it.
Eventually you should be able to tap along with the music, and you will have found the
pulse. Listen to the bass line and the rhythm section, as often they play with the pulse.
Scales
A scale is a group of pitches (scale degrees) arranged in ascending order. These
pitches span an octave. Diatonic scales are scales that include half and whole steps.
The first and last note is the tonic. It is the most 'stable' note, or rather the easiest to
find. Because of this, diatonic melodies often end on the diatonic note. The other notes
in the scale also have names. The second note is the supertonic. The third is the
mediant, halfway between the tonic and dominant. The fourth note is the subdominant.
The fifth note is the dominant. The submediant is the sixth note. The subtonic is the
seventh note in the natural minor scale. The seventh tone of the major, harmonic and
melodic minor scales is called the leading tone if it is one half step lower than the
tonic.
The major scale

The major scale consists of seven different pitches. There are half steps between the
third and fourth and seventh and eighth scale degrees; whole steps exist between all
other steps. Below is a the C major scale. The pattern of whole and half steps is the
same for all major scales. By changing the first note, then using the pattern as a guide,
you can construct any major scale
The natural minor scales
These scales have seven different scale degrees. There are half steps between the
second and third and the fifth and sixth degrees; whole steps exist between all other
steps. Shown below is the A minor scale.
Key Signatures
To help understand and remember key signatures, a chart called the circle of fifths can
be used. On the outside are the major key names, separated by fifths. On the inside
are the corresponding minor key names. In the middle is the number and position of
the sharps or flats.
Practice
Find the English for: нотный стан, диез, бемоль, бекар, такт, доля, целая нота,
половинная, четвертная, восьмая, шестнадцатая, пауза, лига, ключ, знаки (при
ключе), размер (метр), высота (звука), добавочные линейки, длительности,
тактовые черты, ноты с точкой, случайные знаки, знаки артикуляции, знаки
динамики, сеньо, фонарь, гаммы, мажор, минор, кварто-квинтовый круг.
1. There is a note ... every line and ...every space.
2. The treble staff begns ... the first line as E.
3. The major scale consists ... seven different pitches.
4. The treble clef curls ... the G line.
Top 10 Tips for Instant Improvement

1. Practice Everyday
2. Learn theory and how chords and scales are built instead of
just knowing them!
3. Find patterns to help you learn chords and how they change
relations and roles in other keys.
4. Learn all major, natural minor, melodic minor, harmonic
minor, blues, and pentatonic scales.
5. Take the scales and learn all major, minor, diminished,
augmented, and seventh chords. Once you know your scales, you
will find it quite easy to convert them into chords.
6. Practice speed (play exercises increasing in speed as you
progress!)
7. When listening to songs, try figuring out the chord
progressions in your head. Once you have an idea of how the song
is played, start transferring your thoughts to the piano. It
works!
8. Try to learn as many songs, standards, and hymns as possible
(especially, if you're a jazz or gospel musician). Jazz
musicians should know as many jazz standards as possible. Gospel
musicians must know as many hymnals because you never know when
someone wants you to accompany them!
9. Exercise your gift - Show your gift off! Play at church, jazz
clubs, festivals, gigs, and more!
10. Never think you know too much. In music, there is never "too
much" to learn. Keep your mind and ears open to new techniques!
Active vocabulary:
staff sharp flat measure
bar lines beats meter rests
slur clef ledger lines time signature
accidentals scales circle of fifth repeats
Keys: 1. 1 - on; in; 2 - with ; 3 - of; 4 - around

Unit 11. The DJ rules
Jane : You are a good DJ, Tom. Are tere any rules which DJs must know.
Tom: Yes , there are some, espessially for those "on-air".
Jane : Can you you tell me some points of them.
Tom: First - No food or drink is allowed in the studio area at any time.
Second - You can't say "on the air" any obscenity as well as anything that graphically
or explicitly describes sexual or "potty" activities. Then - Breaking stuff, writing things
on the walls or other surfaces, and anything else involving unauthorized modification of
the studio environment, is prohibited. Do not alter the configuration or settings of
equipment not directly relevant to your show.All music DJs are required to fill out a pro-
gram log. It's good to name the songs you just played, to say the time, to thank a
caller, or even make a brief joke. It's not good to spend five minutes on the air, giggling
and joking with your in-studio friends, or stuttering and stumbling for no reason. Say
what you need to, and go to your next song. Listeners don't care about technical diffi-
culties. (Most probably won't even notice!) If a CD is skipping, fix it as soon as possible
and don't talk about it on-air. There is no need to apologize for your mistakes, and
doing so may make your show sound especially amateurish. When going from one
song to the next, especially with two CDs, do your best to make the transitions
smooth. If you know one song ends instantly, start the next one immediately afterward.
If the song ends with a slow fade, try to follow with a song that fades in, and crossfade
the two. Try to find new ways to get your programming as tight as possible.
Jane : What is important in using the equipment?
Tom: Your levels are extremely important. By levels, I mean the reading displayed on
the VU meters on the mixing console. If your levels are too quiet, listeners will have a
difficult time hearing the program material, and may change the station as a result. If
your levels are too loud, everything will sound distorted and unpleasant, and a lot of
the music will be "missing." Unless you are playing classical music, the meters should
average around 0 dB (the boundary between "black" and "red"). With classical music
or quieter pieces, you should make every effort to ensure that your levels are at least
making the meters move in quiet sections and not "pinning the meters" in louder sec-
tions. For rock, if you're playing a piece that has an extremely quiet intro or beginning,
you may wish to cue to a section with more relevant musical material, or do a fade-in.
And stay in the digital domain as much as you can. It is extremely important to bring
as many CDs of your own as you possibly carry. You may have a request that you
cannot fulfill with station materials on hand, or you may find yourself playing the same
songs in the station's collection every show. However, try to avoid bringing your mix
tape collection along with your discs. Cassettes are the worst sounding format that one
can use on the air, even worse than vinyl.
Smoking, drinking, burning incense, or illicit drug usage

is prohibited in the studio.
No more than six people are allowed in-studio during the show.
It's good to name the songs you just played.
It is important to remain in the digital domain as much as possible.
Complex Object ("Объектный инфинитивный оборот")
(The Objective Infinitive Construction).

"Объектный предикативный инфинитивный оборот" * - это сочетание
существительного в общем падеже (или личного местоимения в объектном
падеже) с инфинитивом, выступающее как единый член предложения - сложное
дополнение:
We know gravity to pull on every particle of a body. - Мы знаем, что земное
притяжение действует на каждую частицу тела.
В этом предложении дополнением к сказуемому know является оборот gravity to
pull (что притяжение действует), а не одно слово gravity, так как на вопрос What
do you know? (Что вы знаете?) ответ будет не gravity, а - gravity to pull, т. е., иначе
говоря, все сочетание gravity to pull является неразрывным и относится к
сказуемому как единое целое - сложное дополнение.
В "Объектном инфинитивном обороте" существительное в общем падеже (или

личное местоимение в объектном падеже) обозначает лицо (или предмет),
совершающее действие или подвергающееся действию, обозначенному
инфинитивом.
Поэтому "Объектный инфинитивный оборот" переводится на русский язык

придаточным дополнительным предложением (вводимым союзами что, чтобы,
как), подлежащее которого соответствует существительному в общем падеже
(или местоимению в объектном падеже) переводимого оборота, а сказуемое
соответствует инфинитиву этого оборота:
We know him to travel all over the world. -- Мы знаем, что он путешествует по всему
миру.
Uncle Podger wanted us to help him. -- Дядя Поджер хотел, чтобы мы помогли ему
В "Объектном инфинитивном обороте" инфинитив может употребляться также в
пассивной форме:
We know a vector quantity to be represented by means of a straight line. -- Мы знаем,
что векторная величина изображается прямой линией.
She did not want him to be laughed at. -- Она не хотела, чтобы над ним смеялись.
"Объектный инфинитивный оборот" употребляется:

1. После глаголов to hear слышать, to see видеть, to feel чувствовать, to watch, to
observe наблюдать. После этих глаголов частица to перед инфинитивом не
употребляется:
Eric watched him go from - group to group. -- Эрик наблюдал, как он ходил от группы
к группе.
Johnny saw the crowd break the line of policemen barring their way. - Джонни видел,
как толпа прорвала строй полицейских, преграждавших ей дорогу.
Примечание. После глаголов to hear в значении узнать и to see в значении
понимать "Объектный инфинитивный оборот" не употребляется:
I hear that your son entered the University - Я слышал (узнал), что ваш сын,
поступил в университет.
I see that you understand the rule. - Я вижу (понимаю, знаю), чтобы понимаете
правило.
2. После глаголов, выражающих волеизъявление: to want хотеть, to wish, to desire
желать и др., а также после оборота I should like я хотел бы:
I should like her to look through my composition - Я бы хотел, чтобы она
просмотрела моё сочинение.
I have some notes I want уоu to read over - У меня есть некоторые записи, я хочу,
чтобы вы их просмотрели.
3. После глаголов, выражающих мнение, суждение, предположение и т. п.: to
believe полагать считать; to consider считать; to think думать, считать; to suppose
полагать; to know знать; to prove оказываться, доказывать; to understand
понимать; to expect ожидать; to assume предполагать, допускать и др.:
Experiments proved heat and other forms of energy to be mutually convertible --
Опыты показали, что тепло и другие формы энергии взаимно обратимы.
We believe him to be a good conductor. -- Мы считаем, что он хороший дирижер.
4. После глаголов, выражающих приказание, требование, принуждение, просьбу,
разрешение: to order, to command приказывать; to cause, to make заставлять,
принуждать; to request просить; to allow, to permit , to let разрешать, допускать и
др. В этом случае инфинитив имеет пассивную форму:
Raising the baton allows the musitians to play unanimously - Движение дирижерской
палочки вверх дает возможность музыкантам играть единодушно (вместе).
Не ordered the music stands to be carried away from the stage. - Он приказал,
чтобы пульты унесли со сцены.
Примечание. Если после глаголов, выражающих разрешение или приказание,

следует существительное (или местоимение), обозначающее лицо, и за ним
инфинитив в активной форме, то инфинитив, как правило, не является частью
сложного дополнения, а выполняет функцию второго дополнения,
непосредственно подчиненного глаголу. Следовательно, в этом случае нет
сложного дополнения, нет и "Объектного инфинитивного оборота":
Не ordered the band to go away. - Он приказал медным духовым уйти.

"Объектный инфинитивный оборот" также употребляется после глаголов в
неличной форме:
I want to hear the last note sound. - Я хочу услышать, как прозвучит последняя
нота.
The young man... stood in the doorway watching him work. - Молодой человек стоял
в дверях, наблюдая, как он работал.
Объектный предикативный причастный оборот (Objective Participle
Construction)
"Объектный предикативный причастный оборот" 1 - это сочетание

существительного в общем падеже (или личного местоимения в объектном
падеже) с причастием, выступающее в предложении как единый член
предложения - сложное дополнение:
Не watched them (the students) working. - Он наблюдал, как они (студенты)
работали.
В дальнейшем, с целью сокращения, этот оборот будет называться "Объектный
причастный оборот" (Objective Participle Construction).
В "Объектном причастном обороте" существительное в общем падеже (или
личное местоимение в объектном падеже) обозначает лицо (или предмет),
совершающее действие, обозначенное причастием. Поэтому существительное
(или местоимение) этого оборота переводится на русский язык существительным
(или местоимением) в функции подлежащего придаточного дополнительного
предложения, а причастие - глаголом в личной форме в функции сказуемого
этого предложения. Все предложение присоединяется к главному предложению
посредством союза как (иногда что). Таким образом, английское предложение с
"Объектным причастным оборотом" соответствует русскому
сложноподчиненному предложению:
"Объектный причастный оборот" сходен с "Объектным инфинитивным оборотом".
Разница между "Объектным причастным оборотом" и "Объектным инфинитивным
оборотом" состоит в том, что оборот с причастием выражает процесс
происходящего действия, а оборот с инфинитивом выражает лишь факт
совершения действия.
"Объектный причастный оборот" употребляется после глаголов to hear слышать,

to see видеть, to feel чувствовать, to watch наблюдать, to find обнаруживать,
находить, to like нравиться, to dislike не нравиться, to want хотеть и некоторых
других глаголов:
He saw the musician struggling with the instrument. - Он видел, как музыкант
сражалася с инструментом.
She did it because she couldn't bear to hear you playing it - Она сделала это
потому, что не могла слушать, как , вы играете это.
Look at a star in the East and you will find it rising upward, - Посмотрите на звезду
на востоке, и вы увидите, как (что) она поднимается вверх.
При употреблении причастия II в "Объектном причастном обороте" причастие
выражает не процесс, а результат действия;
He saw all his plans destroyed. - Он видел, что все его планы разрушены
He heard the unseasoned drawer pulled open. - Он слышал, как выдвинули
рассохшийся ящик комода.
бъектный оборот с причастием II после глагола to have и реже после глагола to
get в значении иметь употребляется для выражения действия, которое
совершается не лицом, обозначенным подлежащим предложения, а кем-то
другим для него:
I had my books bound. - Я переплел свои книги (кто-то переплел их для меня).
Сравните:
I had bound my books. - Я переплел свои книги (переплел сам).
I went again to have my flute repaired. - Я снова пошел починить свою флейту.
Get your suitcase packed. - Уложите чемодан (= велите уложить чемодан).
You are taking the next plane to Reno. - Вы летите на следующем самолете в
Рено.
Вопросительная и отрицательная формы глагола to have в этом употреблении
образуются при помощи вспомогательного глагола to do:,
Did you have your books bound? - Вы переплели свои книги?
I did not have my books bound - Я не переплел свои книги.
Where do you have your books bound? - Где вы переплетаете свои книги?
Объектный оборот с причастием II употребляется в значении, аналогичном
What is M ID I?
MIDI stands for Musical Instrument Digital Interface. This simply means that you can
hook a properly equipped instrument up to a computer, and have it record music from
the instrument, in a special form. Instead of a recording, like a CD or MP3, the comput-
er records what notes are played, and how they are played. Then, a digital musician
can go back and edit the music, or even print it out as sheet music. Although MIDI was
originally designed for special keyboards, many MIDI instruments are now available,
from drumsets to woodwinds. Best of all, most sound cards in computers today have
the ability to take in and process MIDI information, so if you have a sound card (most
computers do) and a MIDI instrument, like a keyboard, you can start using MIDI right
away.
MIDI is played by the soundcard or keyboard in two different ways. First, it can be
played using an FM synthesizer. This older technology uses knowledge of how an
instrument sounds to approximate the sound of the intended instrument. The results
are approximate. If you've ever heard a cheap synthesizer or old sound card, you
know what we mean. The second is wavetable synthesis. This uses actual recorded
sounds of an instrument, then modifies them to produce the right sounds. That's why
wavetable synthesis sounds so much better!
Of course, MIDI is also good because it is a excellent way to transfer music over the
internet, since the files are so small. Also, you can play with the files and print out
sheet music from your favorite songs.
What does MIDI stand for ?

What can you hook up to a computer?
How is MIDI played?
There's music in our speech:
Sing the blues - to be disappointed or disillusioned.

Jim sings the blues since he broke up with Elizabeth.
Music to one's ears - good news; information that makes somebody happy
When my boss told me about my promotion, it was music to my ears
It's not over till the old lady sings -

to not speculate about something untill it is completed
Though her policies were criticized, and her election in doubt, the candidate reminded
the news correspondedtsthat it's not over till old lady sings
Off-beat - unusual, not typical

He dressed in an off-beat manner.
Jump on the bandwagon - take a popular position; join the group that the greatest
popularity
The politicians jumped on the bandwagon when they saw the governor was popular
Jazzy - lively; active.

Phil and Mary throw jazzy parties. Hours pass like minutes at their house
Face the music - to confront a difficult or unpleasant situation that one finds oneself
in;
to accept the the unpleasant consequences of one's own actions. He's done a lot of
bad things.
Now it's time for hom to face the music
DJ (ди-джей)
Дословно - диск-жокей - музыкант, работающий с вертушками и виниловыми
пластинками, программированными ритмами и пр. техническими наворотами.
Вертушка
Специальный проигрыватель для виниловых пластинок с регулятором громкости,
скорости диска, директ-драйв - прямым приводом диска, слипматом - материалом
на диске для лучшего скольжения пластинки, что позволяет ди-джею делать
скретчи.
Scratch (скретч)
Царапанье виниловой пластинки иголкой проигрывателя, соответствующие этому
процессу звуки создают перкуссивный эффект с оригинальным ритмическим
рисунком.
MC (эМСи)
Член группы, который читает тексты. Самая распространенная расшифровка -
Master of Ceremonies, также встречаются Microphone Controller и Mic Cheka. Он
может быть как фронтменом, так и бэк-вокалом.
Читка
Как текст, так и способ чтения текста. Существует множество стилей и
разновидностей читки в диапазоне от реггей и фанка до хип-хопа и репа. Сегодня
в западной альтернативной музыке на читке концентрируются такие направления,
как rapcore и funkcore. Так же читка проникает в альтернативу посредством
сотрудничества групп с ди-джеями.
Label (лэйбл)
Буквально - "марка, этикетка". Организация, берущая на себя права издания и
продвижения на рынок музыкального материала после подписания
соответствующего контракта с музыкантами.
Название лейбла можно найти на обложке любого фирменного релиза (CD, DVD).
Есть компании, которые занимаются и записью, и промоушеном, и
распространением продукции. Есть лейблы, занимающиеся только
звукозаписывающей деятельностью или же только раскруткой и
распространением. Есть лейблы-гиганты, работающие со всеми стилями и
направлениями, и есть специализированные на том или ином музыкальном
течении.
Лейбл и группа обладают совместными правами на распространение
музыкального материала. Отсюда рождается проблема нелицензионных CD, или
называемых в народе "пиратских копий".
Major Label (мейджор, мейджорный лейбл)

Общепринятое обозначение транснациональных музыкальных корпораций, т.е.
имеющих свои представительства во всех цивилизованных странах и крупных
городах. Их всего пять: Universal Records, EMI Virgin, Sony, Warner Bros, BMG.
74% западного музыкального рынка находиться в ведении этих мега-лейблов.
Остальные 26% приходятся на так называемый "независимый" сектор (indie), то
есть на небольшие записывающие компании, не входящие в большую пятерку.
Для артиста иметь контракт с мажорным лейблом обычно означает хороший
рекламный бюджет и промоушен, ротация на ведущих тв- и радиоканалах. При
этом мега-лейблы имеют свои взгляды на предлагаемый музыкантами материал,
поэтому группа в студии такой компании всецело зависит от саунд-продюссера и
менеджера фирмы. Независимые лейблы не могут предоставить коллективу
крупномасштабной раскрутки, но они и не предъявляют музыкантам своих
требований.
Ротация [от англ. "rotation"- вращение]

Обращение музыкального материала в радио- и телеэфире. Попадание
коллектива в ротацию означает, что треки с альбома группы будут появляться в
эфире, а частота их появления будет зависеть от рейтингов либо оплаченного
музыкантами (лейблом) времени трансляции. Попадание в ротацию зависит от
качества материала и его формата, а так же умения менеджера коллектива
убедить радиостанцию или тв-канал в уникальности группы и ее альбома.
Remix (ремикс)
Дословно - "пересведенный". Переработанная DJ-ем композиция с изменениями
и дополнениями. Задача ремикса - сделать песню популярной еще и на
танцевальной площадке. Ремиксы часто выходят бонус-треками на альбоме
группы или выпускаются синглом.
Сover (кавер)
Это перепевка, обновленная версия песни какой-нибудь группы. Чаще всего
каверы на хиты делают молодые музыканты, чтобы зрители знали, что им
подпевать. Более серьезные музыканты делают более концептуальные кавер
версии, в которых зачастую обращаются к творчеству успешно забытых
исполнителей прошлого.
List (лист)
Список, порядок музыкальных композиций. Существует несколько видов списков:
Play-list, Track-list и Set-list. Плей-лист - это порядок звучащих композиций, будь-
то эфир радиостанции или телеканала. Трек-лист - это очередность треков на
диске, а Сет-лист - это порядок песен, исполняемых музыкантами со сцены.
EP, LP
Термин пришел в современный музыкальный сленг из эпохи винила. EP (extend-
ed play) - пластинка семидюймового диаметра на 33 оборота в минуту, на 4-6
песен. Сегодня EP называют диск, содержащий до 6 композиций, который
записывается для радиостанций. EP - это самые ударные композиции с
готовящегося альбома группы, на которые лейбл делает ставку. По рецензиям и
реакции публики определяются песни, на которые будут сниматься клипы,
которые будут позиционироваться, как хиты.
LP (long play) - Если обратиться к виниловой истории, то под этим названием
можно встретить самые большие пластинки, вмещавшие до 52 минут музыки. С
появлением на рынке компакт-дисков, термин LP расширил рамки своего
значения. Если EP - демонстрационный альбом, то LP - это уже полноценный,
сведенный и выпущенный в продажу диск.
Грув (groove)
"Ска - это слово из трех букв, и в этом слове заложен грув", - поет Сергей "Шнур"
из группы "Ленинград". Далее по контексту понятно, что грув - это что-то
хорошее. Но вот что? Комментирует Борис Назаров (Moscow Grooves Institute): "У
слова "грув"два значения. Во-первых, это дорожка на виниловом диске. Во-
вторых, грув - ритм-секция, которая заставляет танцевать". Добавим, что еще
один очень известный ди-джей. Но вот какой из грувов заложен в слове "ска",
остается неясным.
Бутлег (bootleg)
Диск (как правило, концертный), выпущенный без разрешения правообладателя.
Единственная разновидность аудио пиратства, к которой терпимо относятся
заинтересованные лица. В конце концов из-под полы на мини-диск концерт
Бритни Спирс купят разве что самые упертые фанаты.
Explicit lyrics (Эксплисит лирикс)

Под таким обозначением скрывается текст ненормативного содержания. На
Западе существует целый культ подобного предупредительного стикера на
обложке альбома. Почему-то им кажется, что если на диски есть мат или же
просто много брани, то это непременно крутая альтернатива. В России же
эксплисит не пользуется особым спросом, слишком уж много матерщины в
нашем шоу-бизнесе. Однако ориентированная на западные аналоги молодая
альтернативная тусовка, также клеит на свои альбомы предупреждение:
"Осторожно, ненормативная лексика!". Наличие ненормативной лексики влияет,
прежде всего, на ротацию треков на радиостанциях и телеканалах, так как в
средствах массовой информации орудует цензура.
Single (сингл)
Релиз из одной-четырех песен, а также ремиксы и прочие вариации на тему
раскрученного хита. Сингл обычно производится для радиостанций и позволяет
им ставить в эфир одну и ту же песню в различных вариациях в течение дня. Но
так же сингл поступает в массовую продажу, часто такие диски дарят или раздают
на концертах. Слушать сингл постоянно, конечно, сложно, но он и создается лишь
на период особой популярности записанной на нем песни. После сингла в
продажу поступает альбом, на который и переносится весь ажиотаж
популярности.
Merchandising (мершандайзинг, мерчандайзинг)

Система реализации атрибутики с символикой музыкального коллектива. Фанаты
и фан-клубы, коллекционирующие футболки, кепки, календари, значки, журналы
и пр., постоянно следят за новинками мершандайзинга.
Goods (гудс)
Непосредственно сама атрибутика с символикой коллектива. Так же к гудсам
относятся бутлеги, автографы и фото с концертов, не входящие в систему
мершандайзинга.
Grouppies (группиз)
Чаще всего девочки, реже мальчики, которые постоянно ездят с группой на
гастроли за свой счет. Они всеми возможными и невозможными способами
проникают в стаффы и получают заветные автографы и фотографии, которые
потом, кстати, реализуют прочим фанатам. Группиз часто пользуются
снисходительным отношением самих групп, которые иногда балуют их
раритетными гудсами.
Fest (фест)
Фестиваль, концерт с большим количеством участников, выступающих под каким-
либо лозунгом или под эгидой какой-нибудь организации.
Sticker (стикер)
Наклейка баннерного формата, рекламный листок с информацией зазывающего
содержания. Стикеры клеят "по черному", т.е. без уплаты денег соответствующим
расклеечным организациям. Так же стикеры раздают при выходе из метро, в
магазинах и пр. местах массового скопления народа. Фанаты и фан-клубы часто
коллекционируют стикеры и афиши.
«trying to play music on coffee cups when you rub your finger on the
rim like wine glasses does not work at all but guess who is drinking all
this coffee (hint; me)»
Practice
Find the English for: изменение (модификация), непристойность, настройки
аппаратуры, в эфире, пропустить, любительский, уровень звука, искаженный,
вступление, цифровая область, долгоиграющие пластинки («винил»),
коммутировать (подключить), редактировать, синтезатор, в такт музыке, греметь,
положить музыку на стихи, петь серенады, подписать контракт

1. You can't say it ... the air.
2. Theft of studio property will result .. criminal charges.
3. You must keep the broad audience ... mind.
4. Listeners don't care ... technical difficulties.
5. Try to compare your show... other radio stations in the area.
6. Stay ... the digital domain as much as you can.
7. MIDI is played by the soundcard or keyboard ... two different ways.
8. Melanie swayed her hips ... time with the music.
a) Swell b) Pount out, pound away c) Record d) Reproduce e)

Serenade f) Set sth. to music
1 - literary to become louder: Music swelled around us.
2 - to play music loudly by hitting your piano, drum etc very
hard
3 - Store music, sound, television programmes etc. on tape or
discs so that people can listen to them or watch them again
4 - To do something in the same way as before
5 - You sing or play music to them to show them that you love
them.
6 - To write music for a story or a poem, so that it can be
sung
1. They try to ... the exact sounds of early music.

2. Are you going to ... tonight's concert?
3. The group has just ... a new album.
4. Mrs. Jones ... out the hymns on the old piano.
1.
2. 3.
1)What are the numbers of: sticks; a shell;
3. a drumhead; lugs; a lever of snares; stand
2) If you are playing rhythms which require a
4. more tom-tom like sound, do you need
snares?
5.
6.
England
Take my drum to England, hang et by the shore,

Strike et when your powder's runnin' low;
If the Dons sight Devon, I'll quit the port o' Heaven,
An' drum them up the Channel as we drummed them long ago.
Henry Newbolt (1862–1938), English poet, novelist, and historian.

"Drake's Drum".
1.
2. 4.
1) What numbers are: a tom; a
3. cymbal; a bass drum; a drumhead;
a floor tom
4. 2) Why do drummers usually cut
out a circle out of the resonance of
5. the bass drum?
3) What usual drum is missing in
the picture?
4) How many toms are there in the
picture?
5) Is there a hi-hat?
5. Jokes:
- How do you know when a drummer is knocking at your door?
- The knock always slows down.
- How do you get a drummer to play an accelerando?

- Ask him to play in 4/4 at a steady 120 bpm.
- Why do bands have bass players?

- To translate for the drummer.
Discuss or write notes on the improvements in sound quality on records and

tapes during your lifetime. Does the excellence of production nowadays disguise
a lack of musical quality, technique or interest?
Active vocabulary:
amateur continuity transitions fade

to gauge digital domain vinyl synthesizer
to transfer to reproduce
Keys : 1. 1 - on; 2 - in ; 3 - in ; 4 - about; 5 - to; 6 - in; 7 - in; 8 - in

2. a) - 1; b) - 2; c) - 3; d) - 4; e) - 5; f) - 6 ; 1 - reproduce; 2 - record ; 3 - recorded; 4
- pounded
3. 1) sticks - 2; shel - 1; drumhead - 3; lugs - 5; a lever of snares - 4; stand - 5; 2) -
no
4. 1) - a tom - 1; a cymbal - 2; a bass drum - 3; a drumhead - 5; a floor tom - 4
2) - To avoid long echoing sound; 3) - a snare drum; 4) - 3; 5) - no

Unit 12. How to be a good leader
Tom: Many rock bands hope for that one big professional break,
or at least enough steady work to earn a living. When neither
event happens, bands may fail.
One common fantasy from our teenage years is forming a great
rock band and touring the world. Album sales would go through
the roof, and we would be the envy of millions. Anyone who has
actually attempted to form a rock band soon learns the truth
about the music industry and one unknown band's place in it. A
real band requires extreme dedication from all of its members, a fanatical rehearsal
schedule, and enough word-of-mouth advertising to be considered for paying gigs.
Forming a successful band is difficult at best, and few bands survive the first formative
years completely unscathed.
Victor: For those who are considering forming a working rock band, you may want to
consider these five common reasons that bands break up, so you can recognize the
warning signs before it is too late:
1. Apathy towards the music. Some bands fail because individual musicians fall 'out of
love' with the music you've chosen to create or cover. A heavy metal guitarist won't be
happy in a 70s cover band any more than a country singer would enjoy playing jazz.
Sometimes tastes change, and one particular band member may decide that your
sound does not match their interests anymore.
2. Solo careers. Every once in a while, a talent comes along who is so amazingly
good that any band would be blessed to have them. In fact, it is often this same talent
that causes the band to break up. Many rock bands are a balance of egos and abili-
ties, which can be much harder to maintain when one member begins to get so much
more attention than the rest. A virtuoso lead singer or an Eric Clapton-level guitarist
can put a band on the map. Some bands become comfortable with the idea of being a
'backing group' to an incredible talent. Others lose interest in the entire project. The
lead singer's extraordinary talent may be pressured into leaving the band to pursue a
solo career.
3. Lack of financial incentive. Band rehearsals take a lot of time and effort, not to men-
tion money. Equipment must be maintained, upgraded or replaced. Instruments may
require expensive repairs or new accessories. Time spent in the band may be time
taken away from more lucrative ventures, such as a second part-time job. Many begin-
ning bands split up simply for economic reasons. Gigs may be few and far between at
first, and whatever money that is generated must be split among a lot of hands. Some
band members cannot continue pursuing a musical career while trying to support a
wife and children. The band may not break up as much as dissolve through lack of
finances.
4. Outside influences. Forming a working band is much like forming a marriage or a
business partnership. You will be spending quite a bit of time away from your family,
whether in rehearsals or in performance. You may find yourself putting the needs of
the band over your own personal commitments. Tensions may begin to form with
spouses who feel neglected or employers who feel like your primary job is not impor-
tant to you anymore. Not everyone can truly commit themselves to a rock and roll
lifestyle and also stay committed to the other elements in their lives. Bands often break
up due to the influences of those outside the confines of the band itself.
5. Artistic differences. This has almost become a cliche in the music business,
nonetheless artistic differences can break a band up fast. Band members who become
proficient at their own craft may start seeing small cracks in other members' armor.
The drummer doesn't seem to keep a good beat, or the bass player has no creative
ability whatsoever. The original songs written by the guitarist are way too simplistic,
and are not commercially viable. The manager hasn't got a paying gig for the band in a
month, and the new record sounds terrible. None of these situations may be true in an
objective sense, but that is how a band member might begin to think. Once a player
starts feeling restrained by his or her current circumstances, they may inevitably lose
interest in the band. Artistic differences may be the number one killer of bands every-
where.
Tom: What can be done to avoid those difficulties ?
Victor: As the leader of the band, you should make every effort to include everyone's
personal tastes into the set selection process. Perhaps your jazz-influenced guitarist
would be happy with a solo piece thrown into the mix. If your drummer prefers a hard
thrash sound and you are primarily a 60s cover band, you might try finding some new
music in that genre that calls for furious drumming. If the band member has a real
problem with your chosen style, you may be better off without their disruptive influence.
As the gap between wunderkind and band begins to widen, you should try to get a feel
for where individual band members stand on the issue. If you cannot coordinate a
truce successfully, you may have to make some serious cuts in personnel or else risk
losing the most talented member of the band.
You must be open and honest with the entire band. Don't try to tapdance around the
issue of money. Tell the band what sort of budget you have to work with, and let them
know what sort of sacrifices they may have to make in order to achieve success. If you
have a talented band member who is struggling financially, you may have to offer
some support until the incomings start matching the outgoings.
As a leader, you must be sensitive to the band members' individual situations. Asking
a bass player with a wife and three children to spend an entire weekend out of state
may be pushing the limit. Be prepared to hear a few 'no's' where the band is con-
cerned. Avoid issuing ultimatums when choices do exist. Hire a replacement player for
that one gig, or restructure the music to cover for the loss.
All you can do as a band leader is follow your own path. You select the music that the
band will play, and the image your band will project. If you write your own music, it will
sound like your own music no matter what. Band members should respect each other's
varying abilities and be willing to offer constructive criticism when needed. If that sys-
tem doesn't work for a particular band member, they should feel free to leave. Rock
bands are not always democratic- certain personalities will be more dominant than oth-
ers. Tough and often unpopular decisions have to be made. Changes in personnel do
not necessarily mean a break-up of the band itself. Oftentimes, the change in line-up
leads to a stronger, more stable band in the long run.
A real band requires extreme devotion from all of its members.

Some bands become a 'backing group' to an incredible talent.
The band may break up through lack of finances.
Changes in personnel may help the band itself.
Grammar
Использование форм сослагательного наклонения (описание ситуаций,
относящихся к настоящему или будущему времени):
Простые предложения (в простых предложениях могут использоваться только
формы, состоящие из двух глаголов) служат для выражения совета / желания /
предложения и т.п., а также для описания нереальных ситуаций:
I should / (would like = I'd like) to see your house.
Мне хотелось бы посмотреть ваш дом.
You could do it later. - Ты мог бы сделать это позже.
Не might be very helpful. - Он мог бы быть очень полезен.
Would you go there with us? - Ты пошел бы с нами туда?
You should be more careful. - Тебе следовало бы быть более осмотрительным.
Сказуемое главного предложения выражено глаголом to be в Past / Present /
Future, т.е. не является формой сослагательного наклонения. Сказуемое
придаточного совпадает по форме с Infinitive без частицы to. Такие предложения
начинаются выражениями:
it is / was / will be important - важно / было важно / будет важно;
it is necessary - необходимо;( possible - возможно; probable - возможно;
desirable - желательно; likely - вероятно / скорей всего
It is important(that) you be / should be here tomorrow at 5.
Важно, чтобы вы были здесь завтра в пять часов.
Сложноподчиненные предложения (сказуемое главного и сказуемое

придаточного обязательно должны различаться):
Сказуемое главного предложения выражено глаголом to be в Past / Present /
Future, т.е. не является формой сослагательного наклонения. Сказуемое
придаточного совпадает по форме с Infinitive без частицы to. Придаточные имеют
модальное значение, поэтому можно использовать также should для всех лиц.
Для соединения предложений используется союз that, который нельзя опускать:
Our proposal was that all workers be given / should be given milk.
Наше предложение состояло в том, чтобы всем рабочим давали молоко.
Our advice is that you shouldn't smoke.
Наш совет заключается в том, чтобы ты не курил.
Придаточные дополнительные. Сказуемое главного предложения выражено
глаголами:
to recommend - рекомендовать; to propose - предлагать; to suggest - предлагать;
to insist - настаивать; to demand - требовать; to order - приказать; to wish - желать
Сказуемое главного предложения не является формой сослагательного
наклонения. Сказуемое придаточного совпадает по форме с Infinitive без частицы
to или Indefinite Past. После глагола to wish ставится форма, совпадающая с
Indefinite Past или форма с would. Придаточные имеют модальное значение,
поэтому можно использовать should для всех лиц. Для присоединения
придаточного предложения к главному используется союз that, который обычно
опускается после глагола to wish:
We insist that you call / called / should call him.
Мы настаиваем на том, чтобы вы позвонили ему.
Придаточные обстоятельственные: присоединяются к главному союзами
so that / in order that - для того, чтобы, после которых используются формы might
/ should / would ; или союзом lest - чтобы не, после которого используется только
форма Infinitive без to или should / might; lest заключает в себе отрицание,
поэтому форма сказуемого после этого слова не должна быть отрицательной:
Give me your money so that I should / would not be worried. - Отдай мне свои
деньги, чтобы я не волновался.
Translate:
It is likely that he should meet you at the airport.
It was necessary that she help us.
It will be desirable that she should come alone.
They demanded that the car should be cleaned / be cleaned / was cleaned.
I wish (that) you could come back tomorrow.
(I) Wish you were here now.
I wish they gave me more money.
Wish she were / was there tomorrow.
I wish it stopped snowing.
I wish you didn't drive so fast.
What do you suggest we do / did / should do?
Proverb
If wishes were horses, beggars would ride.
Anonymous.
Proverb.
Producer
Producer in entertainment, leader of a motion picture,
television, or stage production. The producer develops
the idea for a production, finances it or arranges financ-
ing, supervises the creative talent and support person-
nel, and has the final say on major decisions.
The most famous producers:
Diaghilev, Sergey Pavlovich, Russian ballet impresario who, with the Ballets Russes
(1909 - 1929), revived ballet as a serious art form.
He intended to pursue a career as a composer, but he changed his mind on the
advice of the Russian composer Nikolay Rimsky-Korsakov. Diaghilev soon joined a cir-
cle of writers and painters led by the Russian painters Leon Bakst and Alexandre
Benois, then founded and edited the progressive art journal Mir Iskusstva (The World
of Art, 1899-1904). In 1906 he settled in Paris, France, where, in his 1908 production
of the opera Boris Godunov, he brought the celebrated bass Feodor Chaliapin.
In 1909, in collaboration with the Russian dancer and choreographer Michel Fokine
and a group of Russian dancers Diaghilev established the Ballets Russes. Diaghilev
presented an extraordinary range of ballet genres, from the romantic Giselle (1910), to
the light and surreal Parade (1917), to the lavish Russian Imperial style of The
Sleeping Beauty (1921).
Diaghilev was extraordinarily effective in stimulating the creative gifts of the people he
worked with, and his drawing together of the major talents of his era was a catalyst for
much of the art and music of the period: Bakst and Benois, the French artists Henri
Matisse, Georges Braque, and Maurice Utrillo, as well as the poet-designer Jean
Cocteau (who also wrote ballet scenarios for Diaghilev) and Pablo Picasso.
Geffen, David, American entertainment executive, record producer, and founder of
Geffen Records. Geffen was a talent agent and focused on the emerging rock-music
business, representing groups such as Buffalo Springfield and Peter, Paul and Mary,
and singers Janis Joplin and Laura Nyro.
In 1970 Geffen founded Asylum Records to release recordings by a folk-rock singer
and songwriter Jackson Browne.
In the 1980s hit records by several hard-rock bands-including Aerosmith, Whitesnake,
Guns 'n' Roses, and Nirvana-helped Geffen Records become one of the leading record
companies in the United States.
Beginning in the 1980s Geffen entered the theater and motion-picture business.
In 1994 he cofounded the company DreamWorks SKG with film director Steven
Spielberg and former executive of the Walt Disney Company Jeffrey Katzenberg to
create various entertainment products, including motion pictures, television programs,
and musical recordings.
Jones, Quincy, American popular musician, composer, arranger, producer, and enter-
tainment executive. Jones is best known as the producer of both the album Thriller
(1982), by popular music superstar Michael Jackson and the song "We Are the World"
(1985). Jones's work has earned him more than 70 Grammy Award nominations, more
than 25 Grammy Awards, and a Grammy Legends Award (1991). As one of the most
successful black American entrepreneurs in the history of popular music, Jones has
been credited with helping break down racial barriers in the music industry.
Jones studied the trumpet as a child and began playing and arranging music profes-
sionally as a teenager when he formed a band with singer and pianist Ray Charles.
Jones worked in Paris as an executive for European record company Barclay Disque
and leading a jazz big band.
Jones became a vice president at Mercury Records in New York City.
As an arranger and producer, Jones has worked with hundreds of performers, includ-
ing popular singers Billy Eckstine, Sarah Vaughan, and Frank Sinatra; big band lead-
ers Count Basie and Duke Ellington; jazz trumpeters Louis Armstrong, Dizzy Gillespie,
and Miles Davis; R&B music stars Aretha Franklin, Stevie Wonder, and the Brothers
Johnson; and rap artists Ice-T and Flavor Flav. He has composed the music for more
than 30 motion pictures.
After Fred Goodman.
Humour
The President of a large California health insurance company was also the
chairman of the board of his community's symphony orchestra. He could not attend
one of the concerts and gave his tickets to the company's director of healthcare
cost containment. The next morning he asked the director how he enjoyed the
performance. Instead of the usual polite remarks, the director handed him a
memorandum which went like this:
"The undersigned submits the following comments and recommendations
relative to the performance of Schubert's Unfinished Symphony by the Civic
Orchestra as observed under actual working conditions:
A. The presence of the orchestra conductor is unnecessary for public
performances. The orchestra has obviously practiced and has the prior
authorization from the conductor to play the symphony at a proper level
of quality. Considerable money could be saved by having the conductor
critique the orchestra's performance during a retrospective review meeting.
B. For considerable periods, the four oboe players had nothing to do. Their
numbers should be reduced and their work spread over the whole orchestra, thus
eliminating peaks and valleys of activity.
C. All twelve violins were playing identical notes with identical notes with
identical motions. This is unnecessary duplication; the staff of this section
should be drastically cut with consequent savings. If larger volume of sound is
required, this could be obtained through electronic amplification, which has
reached very high levels of reproductive quality.
D. Much effort was expended in playing 16th notes. This seems an excessive
refinement as most of the listeners (and the violinists!) are unable to
distinguish such rapid playing. It is recommended that all notes be rounded
down to the nearest 8th. If this were done, it would be possible to use trainees
and lower grade operators with no loss of quality.
E. No useful purpose would appear to be served by repeating with horns the
same passage that has already been handled by the strings. If all such
redundant passages were eliminated, as determined by a utilization review
committee, the concert should have been reduced from two hours to twenty
minutes, with still greater savings in salaries and overhead. In fact, If
Schubert had attended to these matters on a cost containment basis, he probably
would have been able to finish his symphony!"
Practice
1. Many rock bands hope ... that one big professional break.
2. Time spent in the band may be time taken away ... more lucrative ventures.
3. Some band members cannot continue pursuing ... a musical career.
4. Changes ... personnel do not necessarily mean a break-up of the band itself.
5. Hire a replacement player ... one gig.
6. That genre that calls ... furious drumming.
2. Imagine that you are going to form your own supergroup, inviting famous pop stars
and other musicians to join you. Choose the instrument that you would like to play
from the list pf instruments and types of singer below, in the line up for the recording
session for this pop group or rock band. Then note down the instrument or vocals of
your choice from each line and who you will invite to play them to sing.
1. lead vocals
2. lead guitar (electric)
3. acoustic guitar
4. bass guitar, backing vocals
5. drums
6. extra percussion (bongos...)
7. keyboards
8. electric fiddle (violin)
9. harmonica , saxophone
Find the English for: профессиональный успех, неудача, гастролировать,
преданность, соответствовать (быть «на уровне»), распадаться , недостаток,
удерживать ритм (темп), выгодное предприятие, ауфтакт, ненужное удвоение,
слишком простоват, большой успех,
Make up a story on the picture. Use the words: a jazzman, a drum set, to enchant,
to marvel (at), to yawn, to show virtuosity, to turn from, to change, to follow
Active vocabulary:
duplication out of tune at a steady tempo resonance

dynamic range difficult runs big professional break rehearsal schedule
too simplistic unnecessary duplication electronic amplification preparatory beat
'backing group' stand on the issue lucrative ventures
3. Humour:
Definitions:
· glissando: a technique adopted by string players for difficult runs.
· Subito piano: indicates an opportunity for some obscure
orchestra player to become a soloist.
· Risoluto: indicates to orchestras that they are to stubbornly maintain
the correct tempo no matter what the conductor tries to do.
· Senza sordino: a term used to remind the player that
he forgot to put his mute on a few measures back.
· Detache: an indication that the trombones are to play with their slides removed
· Preparatory beat: a threat made to singers, i.e., sing, or else....
· Vibrato: used by singers to hide the fact that they are on the wrong pitch.
· Music: a complex organizations of sounds that is set down by the composer,incorrect-
ly interpreted by the conductor, who is ignored by the musicians, the result of which is
ignored by the audience.
· Opera: when a guy gets stabbed in the back and instead of bleeding, he sings.
Keys: Grammar
Он, вероятно, встретит вас в аэропорту.
Было необходимо, чтобы она помогла нам.
Желательно будет, чтобы она пришла одна.
Они потребовали, чтобы в машине убрали.
Мне хотелось бы / Я желаю, чтобы ты смог вернуться завтра.
Мне хотелось бы, чтобы ты был здесь сейчас,
Мне хочется, чтобы она была там завтра.
Мне хотелось бы, чтобы они дали мне больше денег.
Мне хочется, чтобы снег прекратился.
Я не хочу, чтобы ты ехал так быстро. / Я хочу, чтобы ты не ехал так быстро.
И что ты предлагаешь нам делать?
1. 1 - for ; 2 - from ; 3 - x ; 4 - in ; 5 - for; 6 - for

Unit 13. Bass guitar
Jane : You love your bass guitar, don't you? Why?

Victor: Bass ... the glue of rhythm and harmony ... the heartbeat of the band!
The bass has unique qualities that draw you to play it - perhaps it's the rich,
deep, mellow sound or the hypnotic rhythms. In the right hands, the bass is a
tremendously powerful tool, because it gives a band its feel and attitude. The
bass is at the heart of much of the music you hear today.
Jane: Do bass guitars differ from other guitars?
Victor: Bass guitars differ from their high-strung cousins in several
significant ways: Basses normally have four strings, while guitars have six.
Nearly all bass guitars are electric. Other guitars come in all flavors: electric, acoustic,
or a combination of the two.
The bass strings are an equal distance musically from each other. This type of tuning
makes playing the bass much easier than playing the guitar, where the second -high-
est string is tuned differently from the others.
Jane: And a bass player plays important role in the band, doesn't he?
Victor: As a bass player, you play the most crucial role in the band . Everyone in the
group depends on your subtle (and sometimes not-so-subtle) lead. If the guitarist or
saxophonist makes a mistake, hardly anyone will notice, but if the bassist makes a
mistake, everyone in the band and the audience will instantly know that something is
wrong. You're responsible for linking the harmony (chords) of a song with a distinctive
rhythm (groove). This link contributes to the feel, or style, of the music. Feel or style
determines whether a song is rock, jazz, Latin, or anything else.
Jane: What are the main functions of a bassist?
Victor: Keeping a steady rhythm, or a pulse, is one of the bassist's primary functions. I
refer to this function as locking in with the drummer, because you work very closely
with the drummer to establish the rhythm. So be nice to your drummers. Listen to them
carefully and know them well. As a bassist, you need to have a very clear understand-
ing of exactly how the rhythm relates to the beat. You need to know where to place the
notes for the groove in relation to the beat. And you want to make your grooves
memorable. As a bassist, your job is to play the groove. You don't have to restrain
yourself from playing tasty solos and fast-fingered fills, as long as your solo or fill (a
miniature solo) relates to the groove and is indeed part of it. Defining the style of a
tune is your primary function as a bassist. You define a style by the notes and rhythms
you choose - and you have to do this while locking in with the drums! When you need
a very cool solo, or you need to fill some space with bass flash (a fancy mini-solo to
show off your skills).
Jane: What styles do you encounter most often? How do they differ?
Victor: A lot of styles are really part of one big overall style, such as rock. The rock
styles are generally played with a steady eighth-note pulse, tightly locked with the
drums, that drives the song. Swing styles are based on the triplet feel. With the triplet,
the beat is subdivided into three equal units, not the usual two. This style is somewhat
lighter than the rock styles, and it includes the shuffle as well as jazz walking lines.
The funk styles rely heavily on the sixteenth note, the smallest rhythmic subdivision
commonly used in music. For bassists, this is the busiest style: You have lots of notes
to play. You need to lock in very firmly with the drums and keep the groove tight. This
style focuses a lot of attention on the bass and is usually a technical challenge.. World
beat is a widely recognized category in almost any record store. I use this term to
describe styles that are not native to North American music but are relatively common,
such as South American, African, and Caribbean styles. Styles using odd meters aren't
part of the regular four-beat patterns you may be used too, but meters that use five,
six, or seven beats and beyond are definitely part of the odd meter family. Although
unusual, these odd meters can sound quite natural when played correctly. In fact, the
waltz (three beats to the measure) is an odd meter style that arguably feels very natu-
ral because it's so common.
Jane: Thank's for a good lecture.
Bass guitar unites rhythm and harmony

A bass player plays unimportant role in the band
A lot of styles belong to one big overall style called rock
The waltz has three beats to the measure
Grammar
В английском языке формы сослагательного наклонения для выражения
сожаления / досады / возмущения / упрека по поводу того, что какое-либо
действие могло бы произойти / оказалось невыполненным / произошло не
вовремя.
Простые предложения:
Oh God! You might have been killed! - Боже мой! Тебя ведь могли (бы) убить!
Не should have helped you. - Он должен был (бы) тебе помочь (но не помог).
They ought to have come earlier. - Им следовало (бы) прийти раньше (но они не
пришли раньше).
Сложноподчиненные предложения.
В этом случае в качестве сказуемого главного предложения используется глагол
to wish, а русский перевод начинается словом жаль:
I wish I had come earlier. - Жаль, что я не пришел раньше.
I wish you had not been there. - Жаль, что ты оказался там.
I wish I had invited you. - Жаль, что я не пригласил вас.
Не looks as if he had got married. -
У него такой вид / Он выглядит так, будто женился,
(на самом деле он не женился)
Why are you looking at me as if you had not seen me for years? -
Почему ты смотришь на меня так, будто сто лет не видел?
Study these example situations:
Sue wants to phone Paul but she can’t do this because she doesn’t know his number.
She says: If I knew his number, I would phone him.
When you imagine a situation, you use if + past( if I knew/ if you were/ if I didn’t etc.)
Tom would practice more if he had more time. (but he doesn’t have time)
We use the past in the same way after wish (Iwish I knew/ I wish you were etc.)
I wish I knew Pauls number. Do you ever wish you could fly.
After if and wish , you can use were instead of was:
If I were you I would study more. I wish it were possible.
Last month Sting was in Moscow for a concert. Tom didn’t know this, so he didn’t go to
the concert.
- If Tom had known Sting was in Moscow, he would have come to his concert.
The real situation was that he didn’t know about the concert.
When you are talking about the past, you use if + had (‘d) ... ( if I had known/ been/
done..etc.)
We use had )done) in the same way after wish (Iwish I knew/ I wish you were etc.)
I wish something had happened = I ‘m sorry that it didn’t happen:
I wish I had been to his concert.
1. Translate the sentences into Russian:
I wish you were with me.

I wish I had done the homework yesterday.
If the weather is fine tomorrow, we’ll go to the picnic.
He would help you do this translation if you asked him.
It would be wonderful if Ann were here with us.
It wouldn’t do you any harm if уоu did this exercise a second time.
If my grandfather had had a chance to study, he would have been a great man.
2. Answer the questions:

What books would you like to read?
What would you put on if it were warmer today?
How well would you speak English if you’d spoken it since childhood?
Where would you go if you could go anywhere in the world?
What would you do if it were Sunday?
3. Fill in the necessary form of the verb:
1. Plants will die if you ... them.

a. won’t water b. don’t water c. wouldn’t water
2. If I had one million dollars, I ... a modern car.

a. would buy b. will buy c. bought
3. What a pity my husband is away! If he ... here he ... us.

a. were b. would be c. is / d. will help e. would help f. helps
4. You look tired. If I ... you, I ... a holiday.
a. be b. were c. have been / d. will take e. would take f. take
5. If Benjamin Franklin ... so hard, he ... the symbol of America.

a. didn’t work b. wouldn’t have worked c. hadn’t worked / d. wouldn’t have become
e. hadn’t become f. wouldn’t become
6. Would it be all right if I ... round at about six?

a. come b. came c. will come
7. If уоu ... hard, you ... your exam. But you failed it.
a. had worked b. would have worked c. worked / d. would have passed
e. would pass f. will pass
4. Translate into English:
Я бы зашел к нему на следующей неделе, если бы у меня было свободное

время.
На вашем месте я бы принял это предложение.
Я бы пошел вчера в кино, если бы я хотел это сделать.
Я хотел бы, чтобы она мне позвонила вчера вечером.
Я бы хотела, чтобы ты была сейчас с нами в Америке.
Если я узнаю его адрес, я напишу ему письмо.
Мама настаивала, чтобы я надел теплую куртку.
Если бы у меня было достаточно денег, я бы купил картину ей на день
рождения.
Hey man, try this ore, it’s exactly like
the ore you want exept it costs $2000.
Done with high school?
In some generic rock band?
Medium to low inteligence level?
Why not work at a reail music store!!!

Recording And Mixing Acoustic Guitars
by Ken Navarro
I love the sound of an acoustic guitar. However, capturing

a natural acoustic guitar sound on a recording can be tricky.
The first and foremost issue when recording an acoustic gui-
tar is the quality of the instrument itself. A great sound won't
be captured without a great-sounding instrument. Once you
have a quality acoustic guitar you wish to record, the next
step is to select the right microphone to record it. A high-
quality condenser microphone is the best way to go. When
using a condenser mic, remember that you'll need phantom
power, and many mixing consoles supply at least a couple of channels with phantom
power. The next issue to address is the acoustic environment. Without diminishing the
role of the room, the close miking nature of most acoustic guitar recording reduces the
importance of the room acoustics compared to recording a drum set or a string sec-
tion. If you do not have the luxury of a large, balanced-sounding room, your best bet is
to work in a small room with fairly dead acoustics for more control of the instrument's
sound based on miking techniques and mixing.
Mic placement is critical to the success of a session. A good place to start is by plac-
ing the mic slightly off-axis below the soundhole at a distance of 5 to 10 inches.
Placing the mic too close to the soundhole tends to capture a boomy, unnatural sound.
Just the slightest change in the axis of a good condenser mic can cause large differ-
ences in the frequency response. When recording, keep your EQ as flat as possible
and experiment with the position of the mic, particularly the angle of the axis. Only use
the EQ when absolutely necessary. Later, during the mixing process, adjustments to
the EQ of the guitar may be necessary depending on the other instruments involved in
the mix and the blend and balance you desire.
Once guitar tracks are recorded, they'll need to be mixed with the other instruments in
the song. The primary issue here is the equalizing of the guitar. If it's a solo acoustic
guitar piece or a sparse arrangement, the sound obtained when recording the guitar is
probably close to the desired sound in the mix. However, if the guitar is part of an elab-
orate arrangement and mix, its EQ may need to be altered to make it sit in the mix
properly.
What is the first and foremost issue when recording an acoustic guitar?
What is the right microphone to record it?
Is a small room with fairly dead acoustics good for recording?
What needs to be altered to make the guitar sit in the mix properly?
Музыкальный жаргон:
Frontman (фронтмен)
Дословно - "человек впереди". Лицо коллектива, как правило, - вокалист или
вокалистка.
Slam (слем, слемовать)
Маленькая или большая потасовка в зале, выражение агрессии на себе
подобных слушателях. Отличается от драки лишь тем, что заканчивается вместе
с мясной темой в звучащей со сцены композиции. Слемуют обычно фанаты
мужского пола, заранее занимающие места перед самой сценой так, чтобы их
хорошо было видно фронтмену.
Stage-diving (стейдж-дайвинг)
Дословно - "сценоныряние". Прыжки со сцены в толпу. Изначально фанаты
забирались на сцену с целью потрепать фронтмена за плечо и помочь ему спеть
припев, но преследуемые охранниками сцены вынуждены были скрываться в
толпе. Позже прыжки со сцены стали самодостаточным развлечением публики.
Сейчас без этих весьма травмоопасных фокусов не обходится практически не
один концерт альтернативной музыки.
Комбик
Комбо-усилитель, комбинированый с колонкой усилитель для гитар и т.п.
инструментов.
Железо
Все тарелки барабанной установки в совокупности (hi-hat, crash , ride. иногда -
splash и т.д.).
Twin (твин, кардан)
Двойная педаль: одна находится в стандартном положении под правой ногой,
другая - возле хай-хета под левой. Кардан позволяет усложнять ритмические
рисунки, делать звучание более плотным.
Пачка
Это пример еще одного иммигрировавшего термина. В джазе пачка - это
сыгранные стаккато аккорды духовой секции. В альтернативной музыке под
пачкой понимается стаккатный аккорд, исполняемый обычно на бочке и
заглушенной тарелке одновременно с гитарами.
Slap (слеп)
Способ игры на инструменте, как правило, бас-гитаре. Чередование ударов и
резких щипков струн, создают характерное перкуссивное звучание.
Примочка, педаль, эффект, fx, pedal
Аналоговое/цифровое устройство для изменения амплитуды, фазы и
спектрального состава сигнала инструмента. Обычно используется в виде
педали. distortion|overdrive|fuzz - перегруз сигнала, как следствие - нелинейные
искажения, изменения спектральных составляющих сигнала. wah-wah (квак) -
частотная модуляция, может управляться как музыкантом, так и моделироваться
автоматически - autowah. delay - повторение поступающего сигнала с некоторой
задержкой - echo, либо chorus, редко - со смещением фазы одного из каналов -
stereo delay.
Гараж
Для рядового обывателя - место хранения личного автомобиля (лучше двух). Для
американской молодежи - место сочинения и исполнения непримиримо шумных
рок-композиций, являющихся, таким образом, гаражными. "Гаражный рок" конца
шестидесятых был первым звоночком, предвещавшим и безумие панка, и новую
"волну". В наши дни тотальное отсутствие новых идей коснулось даже
терминологии: "гаражом" была названа одна из разновидностей хауса.
Гранж
Слово grunge появилось на свет еще в шестидесятых как производное от grungy -
"поношенный, грязный". А в конце восьмидесятых несколько сиэттлских групп -
Green River, Mudhoney, Soundgarden, Melvins, ииграющий гибрид классического
панк и хард рока а-ля Black Sabbath, - стали носить вещи, словно найденные на
помойке: рванные свитера и клетчатые рубашки дровосеков, неряшливые штаны
и майки. Так появился гранж. Пришедшая чуть позже Nirvana сделала его - и в
одежде, и в музыке - главным модным течением первой половины 90-х. Чисто в
музыкальном плане основной признак гранжа - зафузаванная, жужжащая, почти
нойзовая гитара.
Даб (dub)
Более тормозной и "укурочный" вариант ямайского реггея с более тяжелыми
басовыми линиями и неумеренным использованием эффекта "дилей" (см.
альбом "No protection" от Mad Professor, испортившего целый альбом Massive
Attack). Название происходит от слова "double" - имеется ввиду "дубль два"
обычного регей-трека, своего рода ремикс.
Королями даба были Ли Перри и Кинг Табби, а его белым пропагандистом Билл
Ласвелл. Родившись как маргинальная музыка обкуренных растаманов из
пригорода Кингстона, сегодня даб стал очень модным стилем умных белых
мальчиков.
Даунтемпо (downtempo)
Термины, обозначающие стили электронной музыки, плодятся как грибы после
дождя. Даутемпо - это размытое определение для всякой медленной и
расслабленной электронной музыки, которое не вписывается в торговый ярлык
"трип-хоп", но крутится где то рядом.
Драйв
Это слово, которым обожают спекулировать музыкальные журналисты,
обозначает некую нематериальную субстанцию. Никто не может доказать что
драйв существует, однако он есть. Либо нет. Можно быть музыкантом-виртуозом,
но драйва не выдавать. Если так, то на концерте этой группы вам явно нечего
делать. А можно знать всего три аккорда, но пронимать слушателя до печенок.
Это и есть рок-н-рол.
Staff (стафф)
1. Помещение для музыкантов, техников и корреспондентов во время концерта.
Место всеобщей тусовки и бесконечных интервью. Стафф охраняется
специальными службами концертной площадки, но это не мешает настоящим
фанатам проникать внутрь. 2. Обслуживающий персонал мероприятия.
Naked (накед, накедаться)
Накед (дословно - раздетый) - это личное помещение для группы, где хранятся
инструменты и костюмы, где расположены персональные душевые и туалеты.
Место полного уединения группы до и после концерта. Попасть в накед,
накедаться, очень сложно, так как оно охраняется с повышенным вниманием.
Humour:
How to Be Annoying at a Concert
So, you're going to a concert. Would you like to annoy the performer? Follow these
simple steps, and I guarantee you will frustrate the audience too!
Difficulty Level: easy
Time Required: 5 minutes (preparation time)
Here's How: 1. Arrive late. Don't wait until the current piece is over: enter the hall in
the middle of the piece being played when you arrive. Choose a seat at the front, in
the middle.
2. Take along your cell phone. Set the ringer to as loud as it will go. Arrange to have
someone call during the performance. Let it ring several times, then pick it up and talk.
3. Buy individually wrapped candies. Put them in the bottom of your purse. Wait until a
quiet part of the music, then take out the candy (find it first), and open it.
4. Wear an electronic watch with an alarm, and set it to go off every 15 minutes.
5. Rather than hold your program, place it somewhere where it can be easily blown
knocked to the floor.
6. Cough. Cough often. Cough during quiet parts. Finally, have a candy (see #3).
7. Sing along.
8. Talk to your neighbor, preferably about something unrelated to music.
9. Bring along several children (get them from neighbors), and encourage them to cry,
run up and down the aisles, and climb up on the stage.
10. Leave early. Make sure you leave during the middle of a piece. Especially effective
when combined with #1. Tips: 1. When buying tickets, you might want to consider
using an assumed name. 2. Be prepared with a comeback, should the performer stop
the performance and confront you publicly.
Practice:
Find the equivalents:
Сочный звук, наиболее значимая роль, связать гармонию и ритм, требует

ощущение стиля музыки,
основная задача басиста, связка с ударником, ярко выраженный ритмический
рисунок, соло, трёхдольный ритм, требует владения техникой исполнения,
пользуется популярностью среди покупателей, неквадратный размер
запись естественного звука, близкое расположение микрофона, прозрачная
(плотная) аранжировка,
1. Guitars come ... all flavors: electric, acoustic, or a combination of the two.
2. Everyone in the group depends ... your lead.
3. This link contributes ... the feel, or style, of the music.
4. You need to know where to place the notes for the groove in relation ... the beat.
5. You don't have to restrain yourself ... playing tasty solos.
6. You define a style ... the notes and rhythms you choose.
7. It is played ... a steady eighth-note pulse.
8. Swing styles are based ... the triplet feel.
9. The beat is subdivided ... three equal units.
1. 2. 3. 4. 5. 6. 2.
1. What are the numbers of :
pickups, frets, fingerboard, nut,
tuning machines, headstock, con-
trols, end pin, strap pin, strings,
bridge, body
2. Match: 1) the pickups; 2) the
controls; 3) the jack
a) the socket used for connect-
ing the cord from your bass to
7. 8. 9. 10. 11. 12. the amplifier
b) the knobs used for adjusting
the volume (loudness) and tone
(bass and treble)
c) magnets that are embedded
perpendicular to the strings
3. Quizz
1. In music, sound that has a definite pitch.
a) aria b) tone c) hymn d) score
2. Which type of music uses swing (a melodic sensation of pull and momentum)
to create rhythm?
a) Chinese b) Classical c) jazz d) Russian
3.Group of music styles popular in the West since 50-s
a) Jazz b) Rap c) Rock d) Folk
4. The arrangement of the rising or faling pitch sequence of the tones used in a musi-
cal system.
a) key b) scale c) melody d) tonality
5. Drama in which all or part of dialogue is sung.
a) vaudeville b) opera c) farce d) burlesque
6.. From which European country did the one-hit wonder band 'A-Ha' hail?
a) Greece b) Italy c) Norway d) Poland
7. Which famed musician, composer and activist was born at Nine Mile Village, St.
Ann, Jamaica on February 6, 1945?
a) Bob Dylan b) Bob Marley c) Marvin Gaye d) Stevie Wonder
8. The Sex Pistols, NOFX and Black Flag are all considered to be a part of what musi-
cal genre?
a) Bluegrass b) Heavy Metal c) Punk rock d) Ska
9. Which Jazz musician had a hit with his 1959 album 'Kind of Blue'?
a) Charlie Parker b) Dave Brubeck c) Miles Davis d) Thelonius Monk
10. The internationally acclaimed singer Bjork, formerly of 'The Sugar Cubes', was
born in which country?
a) Iceland b) Japan c) Russia d) Saudi Arabia
11. What is an example of a hexatonic scale?
a) Major b) Whole Tone c) Blues Scale d) Phrygian Major
12. Who replaced Ian Gillian as lead singer for Deep Purple?
a) David Coverdale b) Ronnie James Dio c) Ozzy Osbourne d) Glenn Hughes
13. Who was the composer of "The Rite of Spring"?
a) Francis Scott Key b) Ludwig Von Beethoven c) Bella Bartok d) Igor Stravinsky
Cello Jokes
- How do you get a cellist to play fortissimo?
- Write "pp, espressivo''
Bass Jokes
Did you hear about the bassist who was so out of tune his section noticed?
A double bass player arrived a few minutes late for the first rehearsal of the
local choral society's annual performance of Handel's Messiah.
He picked up his instrument and bow, and turned his attention to the conductor.
The conductor asked, "Would you like a moment to tune?''
The bass player replied with some surprise, "Why? Isn't it the same as last year?''
Two bass players were engaged for a run of Carmen.

After a couple of weeks, they agreed each to take
an afternoon off in turn to go and watch the matinee
performance from the front of house.
Joe duly took his break; back in the pit that evening,
Moe asked how it was.
"Great,'' says Joe. "You know that bit where the music
goes `BOOM Boom Boom Boom'--well there are some
guys up top singing a terrific song about a Toreador
at the same time.''
Active vocabulary:
high-strung groove fill bass flash

triplet feel a technical challenge regular four-beat patterns
mellow sound odd meters musical genre matinee performance
What is your attitude to these quotations:
We're more popular than Jesus Christ now. I don't know which will go first. Rock and
roll or Christianity.
John Lennon (1940 – 1980), British rock musician.

Evening Standard (London).
Let me sum it up for you. Information is not knowledge. Knowledge is not wisdom.
Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is
the best.
Frank Zappa (1940 – 1993), U.S. rock musician and composer.
Keys : 1. 1. - in; 2 - on; 3 - to; 4 - to; 5 - from; 6 - by; 7 - with; 8 - on; 9 - into
2.
1. 1.- pickups - 3; frets - 5; fingerboard -10; nut - 11; tuning machines - 6; headstock -
12; controls - 8; end pin - 7; strap pin - 4;strings -9
bridge - 2; body - 1;
2. 1) - c); 2) - b); 3) - a)
3. 1 - b; 2 - c; 3 - c; 4 - b; 5 - b; 6 - c; 7 - b; 8 - c; 9 - c; 10 - a; 11 - b; 12 - a; 13 - d

Unit 14. Music competitions
Patric: I hear you want to take part in a music contest.
Rosy: Yes. It 's the Queen Elisabeth International Music Competition of
Belgium .
Patric: I know that you have completed your studies so now you want to
start your career as pianist.
Rosy: I want to try.
Patric: What is the required age for candidates?
Rosy: The minimum age for applicants is 17 - and they must be under 27 years of age
on the date that applications are due.
Patric: What documents do you need to send?
Rosy: Applications for admission must be accompanied by the following documents:
1) Enclosed application form duly completed;
2) Certified copy of the candidate's birth certificate; - though
3) Proof of nationality; - though the competition is open to pianists of all nationalities.
4) Curriculum vitae with mention of higher education, names of teachers and any con-
certs and recitals;
5) List of key pieces in the candidate's repertoire (concertos, sonatas, etc.);
6) Two photographs (passport size) with the name of the candidate on the back;
7) One black and white glossy photo 9 x 12 cm for reproduction in the Competition
programme;
8) Supporting documents to determine the eligibility of candidates, the Competition
Management requests copies of relevant diplomas, awards from other competitions,
recent press cuttings or other credentials. After receiving all relevant application docu-
ments, the Secretariat of the Competition will send candidates formal notice regarding
the acceptance of their application. Successful candidates will also receive the score of
the compulsory unpublished Belgian work.
Patric: What is the competition consists of?
Rosy: At first All candidates who are admitted to the Competition must attend the
draw. Then the First round which is open to the public. After that 24 candidates will
play at the semi-finals. During the Piano Competition, a master class will be organized
with world-famous pianists, all members of the jury. These master classes are open to
all candidates, as well as to other accomplished musicians who did not enter the com-
petition. Candidates who do not reach the finals can enrol in this master class free of
charge. Semi-finalists are automatically enrolled as active participants. And at last the
12 finalists will proceed to the Chapelle musicale Reine Elisabeth in the order deter-
mined by the draw to determine the best. All 12 laureates must attend the official
award ceremony.
The laureates are required to take part in the concerts and recitals planned by the
Competition Management in Belgium and abroad. Various prizes and awards will be
distributed to the laureates and semi-finalists.
Patric: So I wish you good luck at the competition.
Rosy: I'll try to do my best.
Patric wants to take part in a music contest.

The age for applicants is from 17 till 27.
The competition is open to pianists from Europe.
Master classes are open to all candidates,
as well as to all other musicians .
Grammar
Согласование времён (Active Voice)
Прямая речь Косвенная речь
You are pretty. He said I was pretty.
You are so intelligent. He said I was so intelligent.
You dance so well. He said I danced so well.
You've got [have got] lovely hair. He said I had got lovely hair.
I'll never forget this day. He said he would never forget that day.
Do you like ballet? He asked me if/whether I liked ballet.

Have you ever been to Boston? He asked me if/whether I had ever been to Boston.
Where do you study? He asked me where I studied.
What are you reading? He asked me what I was reading.
When will we meet again? He asked me when I should meet him again.
Why don't you stay longer? He asked me why I didn't stay longer.
Give me your telephone number. He asked me to give him my telephone number.

Ring me up tomorrow. He asked me to ring him up the next morning.
Help me to translate an article He asked me to help him to translate an article
from English! from English.
Настоящее(Present)... Он сказал, что...He said, that...

переходит в формы Simple - writes wrote
прошедшего же времени Continuous is writing was writing
(Past) Perfect has written had written
Perfect Continuous has been writing had been writing
wrote had written (Perfect)

was writing was writing(Continuous - не
меняется) или had been writing
(Perfect Continuous)
had written had been writing эта форма остаётся без
изменения
Будущее (Future)... will write would write
переходит в формы will be writing would be writing
Будущего-в-прошедшем will have written would have written
(Future-in-the-past) will have been writing would have been writing
Кроме изменения формы глагола в придаточном предложении при обращении прямой речи в
косвенную происходит следующая замена наречий места, времени и указательных местоимений:
Прямая речь Косвенная речь

now - сейчас then - тогда
here - здесь there - там
this, these - это, этот, эти that, those - то, тот, те
today - сегодня that day - в тот день
tomorrow - завтра (the) next day, the following day - на следующий день
yesterday - вчера the day before, the previous day - накануне
next week - на следующей неделе the next week, the following week - на следующей неделе
next year - на будущий год the next year, the following year - в следующем году
last week - на прошлой неделе the previous week - за неделю до
last year - в прошлом году the year before - за год до
Настоящее (Present)... Согласование времен He said, that ...

... переходит в формы (Passive Voice)
прошедшего времени (Past) Simple are built were built
Continuous are being built were being built
Perfect have been had been built
built
Прошедшее (Past) ...
... переходит в те же формы
прошедшего же времени (Past)
Будущее (Future) ... will be built would be built

... переходит в формы
Будущего-в-прошедшем will have been built would have been built
(Future-in-the-past)
Когда в главном предложении указывается адресат сообщения:

Он сказал Борису, что ...
He said to Boris tha t...,
глагол say с предлогом to можно заменять глаголом tell без предлога:
He told Boris that ...
Indirect Questions
When reporting questions, it is especially important to pay attention to sentence order.
When reporting yes/ no questions connect the reported question using 'if'. When
reporting questions using question words (why, where, when, etc.) use the question
word.
For example:
She asked, "Do you want to come with me?"

She asked me if I wanted to come with her.
Dave asked, "Where did you go last weekend?"
Dave asked me where I had gone the previous weekend.
He asked, "Why are you studying English?"
She asked me why I was studying English.
Put the sentences into reported speech:
ex. Jack said: "He must be guilty!" Jack said he must have been guilty.
Tom said, "I want to visit my friends this weekend."
Tom said ...
Jerry said, "I'm studying English a lot at the moment."
Jerry said ...
They said, "We've lived here for a long time."
They said ... for a long time.
He asked me, "Have you finished reading the newspaper?"
He asked me ...
"I get up every morning at seven o'clock.", Peter said.
Peter said ... at seven o'clock.
Susan reassured me, "I can come tonight."
Susan told me ...
Cheryl asked her, "How long have you lived here?"
Cheryl asked her ...
He said, "I must get going. Otherwise, I'm going to be late."
He told me ...
Put the following paragraph in the reported speech into conversational form
using direct speech:
Peter introduced me to Jack who said he was pleased to meet me. I replied that it was
my pleasure, and that I hoped Jack was enjoying his stay in Seattle. He said he
thought Seattle was a beautiful city, but that it rained too much. He said that he had
been staying at the Bayview Hotel for three weeks, and that it hadn't stopped raining
since he had arrived. Of course, he said, this wouldn't have surprised him if it hadn't
been July! Peter replied that he should have brought warmer clothes. He then contin-
ued by saying that he was going to fly to Hawaii the following week, and he that he
couldn't wait to enjoy some sunny weather. Both Jack and I commented that Peter was
a lucky person indeed.
Make up a dialogue on the pic-

ture and put it in the reported
speech.
Computer programs and music
There are a lot of programmes to work with
music.Your choice depends on your needs.
The award-winning Sound Forge® digital audio editor
includes a powerful set of audio processes, tools,
and effects for manipulating audio. Sound Forge soft-
ware allows you to edit, record, encode, and master
nearly any form of digital audio including WAV, AIFF,
MP3, and more. Whether you're taking your first
steps towards editing audio on your PC, or you're a seasoned audio engineer, there's
a Sound Forge product that's right for you.
Finale® is the ultimate music notation program giving you complete control over
every aspect of the printed page while providing powerful control over MIDI input and
output.
Entering notes/rests with the mouse includes visual representation of notes for clarity
and facilitates speed. Insert notes/rests before existing entries. Playing notes/rests in
from a MIDI keyboard captures performance data. Real-time recording beat source
options include tap your own tempo or sync to external MIDI source. Enter notes by
playing an acoustic band instrument via a microphone. Import scanned music to
transpose it, play it, etc. Enter chord symbols with a MIDI keyboard. Change any
notehead to any symbol desired. Automatically creates up to 6-part harmonies from a
melody. Automatically creates piano, bass and drum parts. Automatically creates
orchestration from any source material. Intelligent, human-like, fully customizable
playback of all types of music.
Audiograbber is a beautiful piece of software that grabs digital audio from cd's. It
copies the audio digitally - not through the soundcard - which enables you to make
perfect copies of the originals. It can even perform a test to see that the copies really
are perfect. Audiograbber can also automatically normalize the music, delete silence
from the start and/or end of tracks, and send them to a variety or external MP3
encoders. Audiograbber can download and upload disc info from freedb, an Internet
compact disc, database. You can even record your vinyl LP's or cassette tapes with
Audiograbber and make wav's or MP3's of them.
Expand your digital music collection with Audio Catalyst. It's easy to make MP3 files
from all of your CDs - just insert the CD into your CD drive and go! With Audio
Catalyst you get high-quality MP3s with very small file sizes, so you can have more
hard drive space for your music. Audio Catalyst also includes the new Xing MP3
Player so you can create playlists, organize your MP3s, and more.
What computer programmes are mentioned in the article?

Which of them is a notation programme?
Which pogramme allows you to edit, record, encode any form of digital audio?
Practice:
1. Translate into English: претендент, резюме (лат.), основные произведения
репертуара, соответствующие дипломы, жеребьёвка, музыкант со специльным
образрванием, бесплатно, продолжить (пройти в следующий тур), награды,
предоставить
Learn a few idioms:

take for granted {v. phr.} воспринимать как само собой разумеющееся
1. To suppose or understand to be true. Mr. Harper took for granted that the invi-
tation included his band. A teacher cannot take it for granted that students always
do their homework. Compare: BEG THE QUESTION. 2. To accept or become used
to (something) without noticing especially or saying anything.
George took for granted all that his parents did for him. No girl likes to have her
boyfriend take her for granted; instead, he should always try to make her like him
better.
make out {v.} 1. To write the facts asked for (as in an application blank or a
report form); fill out. The teacher made out the report cards and gave them to the
students to take home. Mrs. Smith gave the clerk in the store some money and the
clerk made out a receipt. 2. To see, hear, or understand by trying hard. It was
dark, and we could not make out who was coming along the road. They could not
make out what the child had played. The book had many hard words and Anne
could not make out what the writer meant. Mr. White does many strange things. No
one can make him out. Syn.: FIGURE OUT. 3. {informal} To make someone
believe; show; prove. Charles and Bob had a fight, and Charles tried to make out
that Bob started it. The boy said he did not take the money but the teacher
found the money in the boy's desk and it made him out to be a liar. 4. {informal} Do
well enough; succeed. John's father wanted John to do well in school and asked the
teacher how John was making out. The sick woman could not make out alone in
her house, so her friend came and helped her.
so far also thus far {adv.} Until this time or to this place. The weather has been hot
so far this summer. This is a lonely road. We have not met another car so far.
Traslate from Russian into English:

1. Никакой музыкант не любит того , что дирижер воспринимает его труд как
должное; вместо этого дирижер должен воодушевить музыканта чтоб тот
исполнял ещё лучше.
2. Вы досих пор ничего не добились.
3. Я ничего не могу разобрать в том что вы пытаетесь исполнить.
4. Не пытайтесь убедить меня в том что вы правы.
5. Как продвигаются ваши занятия музыкой?
6. Он уже побывал во многих странах в качестве диоижера.
7. Ты справишься?
Accross:
1. small flute: a musical instrument
that is the smallest member of the flute
family
8. the seventh letter of the Greek
alphabet, represented in the English
alphabet as "e"
11. have vision, perceive with eyes,
comprehend
14. a musician who plays the cello
15. MUSIC brass instruments like
trumpet
17. resort with bathing and mineral
water
20. tubular musical instruments played
by blowing
21. stringed instrument played with
bow
23. Indian stringed instrument (5 let-
ters)
24. short high-pitched sound
26. a silk sash worn by a Japanese
person in traditional dress
29. Internet Software Consortium
Down: 30. Abbreviation of Equal
1. Personal Communications Services Opportunities Commission
2. Internet Engineering and Planning 33. woodwind instruments
3. early keyboard instrument 39. after that, being at that time, there-
4. original issue fore
8. Abbreviation of electrocardiogram 41 one of the major labels
9. indicates direction 43. musical instruments without ampli-
13. short nonfiction prose piece fication
16. egg of a louse 49. French writer
19. Japanese-born U.S. artist. John Lennon's wife 50. move rhythmically to music
20. 16th letter of the Greek alphabet 52. previously mentioned female per-
22. open (archaic or literary) son or animal
23. U.K. Abbreviation of Securities and Investments Board 54. period before event
27. pair of small drums 55. in order that
34. Abbreviation of open systems interconnection 59. male name
36. drums fitted with snares 61. MUSIC of or for the highest musi-
55. wood used for fuel or construction cal range
64. German-born U.S. physiologist. 65. flat box-shaped string instrument
67. distant, operating at a distance 69. IT IS in Latin
74. MUSIC 6th note of a scale 70. a plucked musical instrument
73. percussion instrument
77. set of things for use together
78. curved inlet of sea
79. keyboard instrument
Active vocabulary:
a music contest Curriculum vitae a draw semi-finals
master class laureates prizes and awards
digital audio editor a music notation program via a microphone
customizable playback playlist
2. Fill in prepositions:
1. Do you want to take part ... a music contest?
2. The song must be accompanied ... the following instruments.
3. What is the competition consists ...?
4. The First round which is open ... the public.
5. Your choice depends ... your needs.
Keys:
2 1 - in; 2 - by; 3 - of; 4 - to; 5 - on


Учебник Английского Для Музыкантов

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Учебник Английского Для Музыкантов

Caricato da

Copyright:

Formati disponibili

PREFACE

"English In Music" by Nikolayko Anatoly, ver. 1.01.

Данное учебное пособие предназначено для студентов музыкальных учебных

"English In Music" by Nikolayko Anatoly, ver. 1.01.

Victor: We practice in the school near Tom’s репетируем

Say if the statement is right or wrong right wrong

The band practices not far from Tom's house.

Positive Negative Questions

I am a musician. I am not (I'm not)a musician. What am I ?

Complete the centences using to be :

Study these rules:

Where … you ( work)?

Nekrasov Academic Russian Orchestra of Radio and Television, Moscow

1. What are the advantages and disadvantages of playing by ear?

1. Fill in the prepositions where necessary:

2. Symphony orchestra seating arrangement:

Find in the picture: string instruments, woodwind instruments, brass instruments.

Do flutes belong to woodwind instruments or brass instruments?

4. Match part 1 and 2

by heart {adv. phr.} By exact memorizing; so well that you

do without or go without{v.} 1. To live or work without

in tune {adv.} or {adj. phr.} 1. At the proper musical pitch;

Keys: Practice 1. 1 - in; 2 -as; 3 -x ; 4 - in; 5 - x ; 6 - in ; 7 - of; 8 - from ; 9 - on ; 10 - at ;

"English In Music" by Nikolayko Anatoly, ver. 1.01.

Andy: Jane, what music do you like?

Say if the statement is right or wrong right wrong

Handel was born in Gemany.

Positive - Stuart took personal music lessons last month.

Случаи употребления the Past Simple Tense:

*Обратите внимание на оборот used to. Для образования отрицательной и

Music in the USA

Where is the home of Blues music?

1. Fill in the prepositions where necessary :

Learn a few idioms:

Translate in English: одновременно (сразу), от души, играть роль в, «туг на ухо»,

3. What are the names of famous composers of Baroque era:

classical oratorios composer lyre

Keys: 1. 1 - for; 2 - about; 3 - of; 4 - for ; 2. 1 - c; 2 - b; 3 - a; 4 - c; 5 - d

Themes for essays:

Explain how you understand the quotations:

«A good composer does not imitate; he steals.»

"English In Music" by Nikolayko Anatoly, ver. 1.01.

Max has a decent electric guitar.

FUTURE SIMPLE or FUTURE INDEFINITE - БУДУЩЕЕ ПРОСТОЕ ВРЕМЯ

Positive Negative Questions

I I will (shall) not be there. What shall (will) I (we) do?

Study these examples:

I’ll phone you when I get home from work.

Your Hand is Your Band: The Importance of Fingering

What is the subject of the article?

· The next movement is still in the factory.

EO: To the Woodwinds: There are no woodwinds at Number 6.

· I think one thing and say another.

EO: (To William Smith) Did you play?

· That's the way it was every time I studied it.

· I'm conducting slowly because I don't know the tempo.

-Bass Clarinetist: What note do I have?

· During the rests - pray. (молитесь)

-Q: is that a G or a G# Maestro

-EO: Percussion a little louder

1. Find the equivalents:

2. Fill in the prepositions where necessary:

Philip Larkin (1922–1985), British poet.

4. Match verbs with their descriptions : a) Arrange b) Orchestrate c) Back d) Conduct