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neurologyYou need to know

• Programme music is instrumental music intended to tell a story, depict a scene, or represent a character or emotion.
• Descriptive music communicates images and emotions by manipulating musical elements such as dynamics, tempo, pitch, rhythm, and timbre.
• In the Hall of the Mountain King was composed by Edvard Grieg as incidental music for Henrik Ibsen’s play Peer Gynt and is an example of programme music.
• In the Hall of the Mountain King builds tension by repeating a short motif, using a gradual increase in volume (crescendo), and a gradual increase in speed (accelerando).
• A crescendo means the music should gradually get louder.
• An accelerando means the tempo should gradually get faster.
• Dynamic markings include: pianissimo (pp) very quiet, piano (p) quiet, forte (f) loud, and fortissimo (ff) very loud.
• Tempo terms: Largo means very slow, Moderato means a moderate speed, and Presto means very fast.
• On the stave, notes placed higher sound higher in pitch, and notes placed lower sound lower.
• Moving up on the stave corresponds to moving to the right on the keyboard; moving down corresponds to moving to the left.
• A sharp raises a note by one semitone; a flat lowers a note by one semitone; a natural cancels a previous sharp or flat in the same bar.
• Accidentals apply to all repetitions of the same pitch within a bar unless cancelled by a natural.
• The black key between A and B can be named A sharp or B flat; such pairs are called enharmonic equivalents because they sound the same but are written differently.
• Bar lines divide music into equal groups of beats called bars; a count-in sets a shared tempo so performers begin together and stay in time.
• In simple time such as `4/4`, a minim lasts 2 beats, a crotchet lasts 1 beat, and a quaver lasts `1/2` a beat.
• Quavers in simple time are counted as “and” between the beat numbers (for example: “1 and 2 and 3 and 4 and”).
• Keyboard fingering numbers run from 1 (thumb) to 5 (little finger) on each hand; consistent fingering supports fluency and accuracy.
• Crossing digits (for example, passing the thumb under or a finger over) allows smooth movement across a wider range without breaking the phrase.
• Following the score while listening links notation to sound by tracking pitch direction, rhythm, and expressive markings.
• Effective practice strategies include block practice (repeat a small section slowly) and reverse practice (start at the end of a passage and add earlier notes).

• Define programme music in one precise sentence and name at least one musical device that can create tension (for example, crescendo or accelerando).
• Identify and annotate dynamics (pp, p, f, ff) and tempo terms (Largo, Moderato, Presto) on the set-work score, stating the performance effect of each marking.
• Track the notation while listening, pointing to each note in time and indicating when the pitch moves higher or lower.
• Read and apply accidentals accurately on the keyboard, choosing the correct black key, and explain when a natural cancels a previous sharp or flat within a bar.
• Count and clap the rhythm of bars 1–4 using "1 and 2 and 3 and 4 and", then play the same bars keeping an even quaver pulse and correct note lengths.
• Finger bars 1–4 of In the Hall of the Mountain King with appropriate hand position, including crossing digits smoothly in bar 3, writing finger numbers above notes where needed.
• Practise difficult spots using techniques such as 'block practice' and 'reverse practice', starting under tempo and only increasing speed once pitch and rhythm are secure.
• Perform bars 1–4 at a steady tempo with accurate notes, correct accidentals, consistent fingering, and a controlled crescendo to build tension.
• Evaluate a peer performance against agreed criteria, giving one specific strength and one actionable target focused on timing, pitch accuracy, or fingering.