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Theory Gymnastics: Accelerando 1 is a wonderful addition to any teacher who is looking for an enjoyable game-centered approach to theory.
This is useful, for example, when pacing a group ritard, accelerando or other tempo change, or when coming off of long note or fermata, when the group needs to feel a missing pulse together.
Her final subsection includes a gradual crescendo and accelerando that reflects the buildup of excitement implicit in De Falla's score.
It would seem, though, that use of accelerando or ritardando is only rarely appropriate, since there are so many cautions regarding its use, such as Schulz's: "Singers and players often introduce a holding-back or a pressing-forward which the composer has not marked, and they are certainly often of very good effect.
Accelerando (Books 1, 2 and 3) Piano Techniques to Accelerate the Progress and Development of the Student Pianist, by Robert Schultz and Tina Faigen.
The opening section continues to unfold with several alternations between accelerando and allargando to convey a sense of nature's accumulating forces.
In the Middle of the Night, Something or Someone Is Under the Bed and I Decide to Look" is a wonderfully descriptive piece that consists of chromatically rising rhythmic effects within one long crescendo and accelerando.
Textures and metric changes reminiscent of the opening and middle sections conclude the work with a loud, striking accelerando.
The technique of cutting dramatically between camera shots in rhythm to the music is used with discretion but to good effect, particularly in the exciting accelerando at the end of the Kyrie where the horns punctuate the texture with fortissimo chords.
For example, one difficult clarinet passage calls for accelerando on a repeated note with varying degrees of breathy sound, flutter-tongue, and crescendo.
When the student is fully capable of imitating these rhythms, gradually add elements of fluctuating tempos such as accelerandos and ritardandos to illustrate how music does not have to be so rigid.