Music Code Chart
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale -
Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected]
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected] Piano vs. Organ Tone “…..the vibrating string of the piano is loudest immediately after the attack. The tone quickly decays, or softens, until the key is released or until the vibrations are so small that no tone is audible.” For the organ, “the volume of the tone is constant as long as the key is held down; just prior to the release it is no softer than at the beginning.” Thus, the result is that “due to the continuous strength of the organ tone, the timing of the release is just as important as the attack.” (Don Cook: Organ Tutor, 2008, Intro 9 Suppl.) Basic Manual Technique • Hand Posture - Curve the fingers. Keep the hand and wrist relaxed. There is no need to apply excessive pressure to the keys. • Attack and Release - Precise rhythmic attack and release are crucial. The release is just as important as the attack. • Legato – Essential to effective hymn playing. • Independence – Finger and line. Important Listening Skills • Perfect Legato – One finger should keep a key depressed until the moment a new tone begins. Listen for a perfectly smooth connection. • Precise Releases – Listen for the timing of the release. Practice on a “silent” (no stops pulled) manual, listening for the clicks of the attacks and releases. • Independence of Line – When playing lines (voices) together, listen for a single line to sound the same as it does when played alone. (Don Cook: Organ Tutor, 2008, Intro 10 Suppl.) Fingering Technique The goal of fingering is to provide for the most efficient motion as possible. -
Theory of Music
MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff . -
The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990. -
Smufl Standard Music Font Layout
SMuFL Standard Music Font Layout Version 0.7 (2013-11-27) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline. § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons. § Added Time signature + and Time signature fraction slash glyphs. § Added Black diamond notehead, White diamond notehead, Half-filled diamond notehead, Black circled notehead, White circled notehead glyphs. § Added 256th and 512th note glyphs. § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs for canzicrans and inverted canons. § Added trill wiggle segment, glissando wiggle segment and arpeggiato wiggle segment glyphs. § Added string Half-harmonic, Overpressure down bow and Overpressure up bow glyphs. § Added Breath mark glyph. § Added angled beater pictograms for xylophone, timpani and yarn beaters. § Added alternative glyph for Half-open, per Weinberg. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
Clarinet Quarter-Tone Fingering Chart
Clarinet Quarter-Tone Fingering Chart 1st Edition rev.1 2017 Jason Alder www.jasonalder.com ii Author’s Note This clarinet quarter-tone fingering chart developed as a continuation of my initial work of one for bass clarinet, which grew from my extensive playing of contemporary music and study of South-Indian Karnatic music. My focus had been primarily on bass clarinet, so the development of this chart for soprano clarinet didn’t come to realization until some years later as my own need for it arose, occurring simultaneously with a decision to rework the initial bass clarinet chart into a second edition. The first edition for clarinet therefore follows the same conventions as the second edition bass clarinet fingering chart. This first revision revisits a few quarter-tone fingerings around the “break” after I discovered some better ones to use. Jason Alder London, 2017 iii Guide to the Fingering Chart This fingering chart was made using a Buffet R13 clarinet, and thus the fingerings notated are based on the Boehm system. Because some differences may exist between different manufacturers, it is important to note how this system correlates to your own instrument. In some fingerings I have used the Left Hand Ab//Eb key, which not all instruments have. I’ve included this only when its use is an option, but have omitted the outline when it’s not. Many notes, particularly quarter-tones and altissimo notes, can have different fingerings. I have notated what I found to be best in tune for me, with less regard for ease and fluidity of playing. -
Microtonality As an Expressive Device: an Approach for the Contemporary Saxophonist
Technological University Dublin ARROW@TU Dublin Dissertations Conservatory of Music and Drama 2009 Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist Seán Mac Erlaine Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusdiss Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Mac Erlaine, S.: Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist. Masters Dissertation. Technological University Dublin, 2009. This Dissertation is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Microtonality as an expressive device: An approach for the contemporary saxophonist September 2009 Seán Mac Erlaine www.sean-og.com Table of Contents Abstract i Introduction ii CHAPTER ONE 1 1.1 Tuning Theory 1 1.1.1 Tuning Discrepancies 1 1.2 Temperament for Keyboard Instruments 2 1.3 Non‐fixed Intonation Instruments 5 1.4 Dominance of Equal Temperament 7 1.5 The Evolution of Equal Temperament: Microtonality 9 CHAPTER TWO 11 2.1 Twentieth Century Tradition of Microtonality 11 2.2 Use of Microtonality -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Interaktiv June 2006 Page 1 Interaktiv Noch Zusätzlich Einen 90-Minütigen Vortrag Über Das Deutsche Gesundheits- Wesen an Einem Der Anderen Konferenztage, Bei Dem U.A
Liebe GLD-Mitglieder! von Frieda Ruppaner-Lind, GLD Administrator ie Sie bereits durch mehrere Ankündigungen unserer Verbandsleitung Werfahren haben, wird mit Beginn des Jahres 2006 keine zusätzliche Gebühr für die Mitgliedschaft in den ATA-Divisions mehr erhoben. Jedes ATA-Mitglied kann außerdem einer beliebigen Anzahl von Divisions beitreten. Dies führt zu einer Vereinfachung für die Division Administrators, die sich jetzt nicht mehr mit separaten Budgets abgeben müssen und automa- tisch für jede ATA-Konferenz zwei Sprecher direkt einladen können. Dies hängt auch nicht mehr von der Größe der einzelnen Divisions ab und gibt somit den kleineren Divisions die Möglichkeit, ein besseres Programm zu bieten. Ein anderer positiver Effekt ist die Erhöhung der Mitgliederzahlen in allen Divisions. Im Vergleich zum Vorjahr verfügt die GLD jetzt über ca. 950 Mitglieder, was einer Steigerung von 350 Mitgliedern entspricht. Für die Mitgliedschaft in der GLD-Liste in Yahoo Groups ist nach wie vor die Mitgliedschaft in der Division Voraussetzung. Auch hier ist ein Anstieg der Mitgliederzahl auf 231 Mitglieder zu verzeichnen, was gegenüber dem Vorjahr allerdings geringfügig ist. Trotzdem ist die Liste wie immer sehr aktiv und ich freue mich über die vielen interessanten Beiträge. Bevor der Sommer mit den hierzulande recht heißen Temperaturen heran- naht, waren die GLD-Administratoren wie im letzten Jahr wieder an der Gestaltung des deutschen Programmteils der ATA-Konferenz in New Orleans beteiligt. Wir haben uns auch die Vorschläge notiert, die während der GLD- Jahresversammlung in Seattle von Mitgliedern gemacht wurden; einer der Vorschläge lautete, etwas zum Thema Medizin zu präsentieren. Diesen Wunsch werden wir erfüllen können: Im Rahmen eines dreistündigen interaktiv Seminars am Mittwoch wird Prof. -
Notes, Rhythm, and Meter Notes
Dr. Barbara Murphy University of Tennessee School of Music NOTES, RHYTHM, AND METER NOTES: Notes represent a duration or length of a sound. Notes consist of the head the stem and the flag or beam. note = head + stem + flag NOTE HEADS: The head of the note should be written as an oval (not a round circle) and should be centered on the line or space of the staff that represents the note. STEMS: Stems are notated on the right side of the note head and are ascending if the note head is on the 3rd line of the staff or below that line. Stems are notated on the left side of the note head and are descending if the note is on the 3rd line of the staff or above that line. Stems should be about 1 octave in length and should be straight up and down (not slanted). FLAGS: Flags are notated to the right of the stem whether the stem is on the right or left side of the note head. BEAMS: Notes should be beamed together to show the beat. Beams should therefore not cross beats. Beams should be straight lines, not curves. Beams may be slanted ascending or descending according to the contour of the notes. Beaming notes together may result in shortened or elongated stems on some notes. If beaming eighth notes and sixteenth notes together, sixteenth note beams should always go inside the beginning and ending stems. DURATIONS: Notes can have various durations and various names: American British (older version) double-whole breve whole semi-breve half minim quarter crotchet eighth quaver sixteenth semi-quaver thirty-second demi-semi-quaver sixty-fourth hemi-demi-semi-quaver These notes look like the following: double whole half quarter 8th 16th 32nd 64th whole In the above list, each note duration is one-half the duration of the preceding note duration.