DOCSLIB.ORG

Chromatic Fingering Chart for Euphonium T.C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chromatic Fingering Chart for Euphonium T.C Chromatic Fingering Chart for Euphonium T.C. Note: Only the most commonly used fingerings are listed here, in order of preference. The overtone chart available on this website provides comprehensive information about available alternate fingerings. The differing fingerings for certain lower-register notes on compensating versus non-compensating instruments are clearly indicated. All sounding pitches are a major ninth lower than written. G-Sharp or A-Flat A-Sharp or B-Flat G (Concert F) A (Concert G) B (Concert A) C (Concert B-Flat) (Concert F-Sharp or G-Flat) (Concert G-Sharp or A-Flat) & w #w bw w #w bw w w Ÿ ◊ 1 (false tone) 2 (false tone) 2-4 (false tone) 4 (false tone) 2-3 (false tone) 1-2 (false tone) 1-2-3 (false tone) 1-3 (false tone) C-Sharp or D-Flat D-Sharp or E-Flat F-Sharp or G-Flat (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat) E (Concert D) F (Concert E-Flat) (Concert E or F-Flat) & #w bw w #w bw w w #w bw “C‘ompensating: Compensating: Compensating: Compensating: Compensating: 2-4 1-2-3-4 1-3-4 2-3-4 1-2-4 1-4 1-2-3 Non-Compensating: Non-Compensating: Non-Compensating: Non-Compensating: Non-Compensating: 1-2-3-4 (false tone) 1-2-3-4 1-3-4 2-3-4 1-2-4 1-4 G-Sharp or A-Flat A-Sharp or B-Flat G (Concert F) A (Concert G) B (Concert A) C (Concert B-Flat) (Concert F-Sharp or G-Flat) (Concert G-Sharp or A-Flat) & w #w bw w #w bw w w “4‘ 2-3 1-2 1 2 0 1-3 3 C-Sharp or D-Flat D-Sharp or E-Flat F-Sharp or G-Flat (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat) E (Concert D) F (Concert E-Flat) (Concert E or F-Flat) & bw #w bw w #w bw w w #w2-4 Compensating: Compensating: Compensating: Compensating: Compensating: 1-2-3 1-2-3-4 1-3-4 2-3-4 1-2-4 1-4 Non-Compensating: Non-Compensating: Non-Compensating: Non-Compensating: Non-Compensating: 1-2-3-4 (false tone) 1-2-3-4 1-3-4 2-3-4 1-2-4 1-4 G-Sharp or A-Flat A-Sharp or B-Flat G (Concert F) A (Concert G) B (Concert A) C (Concert B-Flat) (Concert F-Sharp or G-Flat) (Concert G-Sharp or A-Flat) & bw w w w4 #w2-3 bw w1-2 #w1 2 0 1-3 3 1-4 2 Chromatic Fingering Chart for Euphonium T.C. (Everett) C-Sharp or D-Flat D-Sharp or E-Flat F-Sharp or G-Flat (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat) E (Concert D) F (Concert E-Flat) (Concert E or F-Flat) & bw bw w #w bw w1-2 w1 #w2 #w2-4 4 2-3 1-3 3 2-4 1-2-3 1-2-3 G-Sharp or A-Flat A-Sharp or B-Flat G (Concert F) A (Concert G) B (Concert A) C (Concert B-Flat) (Concert F-Sharp or G-Flat) (Concert G-Sharp or A-Flat) & w #w bw w #w bw w w 0 2-3 1-2 1 2 0 4 3 2-3 1-3 F-Sharp or G-Flat D-Sharp or E-Flat C-Sharp or D-Flat (Concert E or F-Flat) (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat) E (Concert D) F (Concert E-Flat) bw w w #w bw & #w bw w #w 1-2 1 2 0 1 2 2-4 4 2-3 1-2 1-2-3 1-3 G-Sharp or A-Flat A-Sharp or B-Flat (Concert F-Sharp or G-Flat) A (Concert G) (Concert G-Sharp or A-Flat) B (Concert A) C (Concert B-Flat) G (Concert F) w #w bw w #w bw w w & 0 2-3 1-2 1 2 0 1 C-Sharp or D-Flat D-Sharp or E-Flat F-Sharp or G-Flat (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat) E (Concert D) F (Concert E-Flat) (Concert E or F-Flat) bw #w bw w #w bw w w #w & 2 0 2 0 1 2 1-2 1 2-3 1-2 1-2-3 1-3 2-4 G-Sharp or A-Flat A-Sharp or B-Flat C (Concert B-Flat) G (Concert F) (Concert F-Sharp or G-Flat) A (Concert G) (Concert G-Sharp or A-Flat) B (Concert A) ” “w #w bw w #w bw w w & 0 2-3 1-2 1 2 0 1 F-Sharp or G-Flat C-Sharp or D-Flat D-Sharp or E-Flat F (Concert E-Flat()Concert E or F-Flat) G (Concert F) (Concert B or C-Flat) D (Concert C) (Concert C-Sharp or D-Flat)E (Concert D) ” “#w bw w #w bw w w #w bw w & 2 0 2 0 1 2 0 1-2 1 2-3 1-2 1-2-3 1-3 2-4.
Load more

Recommended publications
  • GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
    GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries.
    [Show full text]
  • 10 - Pathways to Harmony, Chapter 1
    Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Tools-For-Tosafos-Selections.Pdf
    wffiffiLs FOR w &F F$af,m Per$mutter T.AR G UI\,{,/F.E LD }-{ ts N N4 $sltroducttost Whot trs Tosef'os? Tosafos is a collection of the interpretations and explana- tions of the Gemara by the group of sages known as "baalei haTosdos," i.e., the Tosafos masters. Tt:re baalei haTosafos (also known as "Tosafists") were sages of theJewish communities in France and Germany (with a few in other European countries) in the twelfth and thirteenth centuries. Some of them offici- ated as the halachic leaders of the community and functioned as representatives to the gentile authorities. Some ranyeshivos, where disciples would devote all their time to studying Torah. ThebaaleihaTosafoslived in a time that is regarded inJewish history as the period of the Rishonim. "Rishonirn" (literally "first") is the collective term given to the sages who lived in Europe and North Africa after the time of the Geonim (who lived in Babylon). This period extended until the Tur or R' Yosef Karo (who compiled the Shulchan Aruch), after which the period of the Acharonim began. Not all the sages who lived in these areas during this time period are called Tosafists, however. The term "Tosafist" applies to those who learned the Gemara in a certain way. The way th,e baalei haTosafos learned is, in effect, the focus of this work. 1Z Tools for Tosafos Introrttacn-ion 13 a sage who constantly compated At this poin! we can say that Sirece then, mrost prlntirags of the Taknud have contained differences in the Talmudic text, -W?t-{sa'l'{ and attempted to consolidate Tcsafcs's c*lrlmentar)'.
    [Show full text]
  • Altered and Enharmonic Modulation
    Altered andmusic Enharmonictheory for musicians and normal people Modulation by toby w. rush œ œ w b œ œ œ nœ w Altered common chord modulation & œ œ is easy: remember diatonic common F: I IV V chord modulation, where we used a C: I V I chord that was diatonic in both the old and new keys? altered common chord modulation is the same thing, only using the œ œ pivot chord as an altered chord & b œ œ œ #nw in either the old key, the new key, œ # #œ w or both. F: I IV V n œ E: bVI V I Now, in both diatonic modulation and altered modulation, we have one chord that plays two different roles, one for each key. But the chord type doesn’t change... if it was a major chord in the old key, it’s still a major chord in the new key. ...but...but whatwhat ifif thethe chordchord typetype did change? this technique is in enharmonic modulation, we respell a chord so — well, odd — that so the enharmonically chord type itself there are only is different in the old and new keys. two specific ways to do it. ever notice that the german augmented sixth chord is just like fully diminished seventh chords are a major-minor seventh chord cool for a lot of reasons, and one of with the seventh respelled them is that they are equidistant chords: enharmonically? inverting a fully diminshed seventh yields another root-position fully dimished seventh chord. # w bw beethoven b ww b w did! & b w bw bw bww b ∫w 7 b w C: Ger.6 D : V b w b w w b & w7 invert & 6 & 7 a° a°5 respell c° we can take advantage of this and use it meaning that a fully diminished as a pivot chord..
    [Show full text]
  • Politics and Administration: a Review of Research and Some Suggestions
    POLITICS AND ADMINISTRATION: A REVIEW OF RESEARCH AND SOME SUGGESTIONS Tansu Demir University of Illinois at Springfield Department of Public Administration Public Affairs Center, Room 418 One University Plaza, MS PAC 420 Springfield, IL 62703-5407 Tel. (217) 206-8325 E-mail. [email protected] Tansu Demir, Ph.D., is an assistant professor in the Department of Public Administration at the University of Illinois – Springfield. His research interests include public administration theory, bureaucratic politics, and public policy process. He has forthcoming articles in Administration & Society, Public Administration Review, and International Journal of Public Administration. ABSTRACT The role of public administration in the political process has been of great concern since the emergence of public administration as an academic field in the late 1880s. The question of how public administration relates to the political process is of pivotal importance to scholars and practitioners alike as it bears implications for disciplinary identity (and autonomy) and institutional development of public administration. Despite a voluminous literature on the subject, the question remains unanswered. This paper identifies three major schools of thought on politics-administration relationship, and examines the state of research that has flowed in three strands as historical, conceptual, and empirical. In the end, the paper makes an overall evaluation and lays out some suggestions. 1 POLITICS AND ADMINISTRATION: A REVIEW OF RESEARCH AND SOME SUGGESTIONS The proper role of public administration in the political process has remained an important question since the emergence of public administration as a field of study in the late 1880s. In his famous article, Wilson (1887) outlined what later happened to be called the politics-administration dichotomy, a theoretical model that emphasizes distinct features of public administration vis-à-vis politics.
    [Show full text]
  • Of the Mishnah, Bavli & Yerushalmi
    0 Learning at SVARA SVARA’s learning happens in the bet midrash, a space for study partners (​chevrutas​) to build a relationship with the Talmud text, with one another, and with the tradition—all in community and a queer-normative, loving culture. The learning is rigorous, yet the bet midrash environment is warm and supportive. Learning at SVARA focuses on skill-building (learning how to learn), foregrounding the radical roots of the Jewish tradition, empowering learners to become “players” in it, cultivating Talmud study as a spiritual practice, and with the ultimate goal of nurturing human beings shaped by one of the central spiritual, moral, and intellectual technologies of our tradition: ​Talmud Torah​ (the study of Torah). The SVARA method is a simple, step-by-step process in which the teacher is always an authentic co-learner with their students, teaching the Talmud not so much as a ​normative​ document prescribing specific behaviors, but as a ​formative​ document, shaping us into a certain kind of human being. We believe the Talmud itself is a handbook for how to, sometimes even radically, upgrade our tradition when it no longer functions to create the most liberatory world possible. All SVARA learning begins with the CRASH Talk. Here we lay out our philosophy of the Talmud and the rabbinic revolution that gave rise to it—along with important vocabulary and concepts for anyone learning Jewish texts. This talk is both an overview of the ultimate goals of the Jewish enterprise, as well as a crash course in ​halachic​ (Jewish legal) jurisprudence. Beyond its application to Judaism, CRASH Theory is a simple but elegant model of how all change happens—whether societal, religious, organizational, or personal.
    [Show full text]
  • How to Prepare for the Music Fundamentals Test
    How to Prepare for the Music Fundamentals Test On your audition day, you will be given a brief written music fundamentals test. Its purpose is to determine whether or not you are ready to begin Music Theory I and Aural Skills I during your first semester at Wheaton. The test is graded pass/fail, and both accuracy and time are factored into the results. Even if you have already taken music theory or aural skills classes, the test is mandatory. To prepare for the test, memorize the following: • Note names in both treble and bass clefs. • The relationships between basic note values (i.e., whole notes, half notes, quarter notes, 8th notes, and 16th notes), as well as their equivalent rests. • The meanings of dots, ties, and beams. • The meanings of 2/4, 3/4, 4/4 (C), 6/8, 9/8 and 12/8 signatures. • All 30 major and natural minor scales in treble and bass clefs. • All 30 major and minor key signatures in treble and bass clefs. If you are unfamiliar with any of the concepts listed above, desire clarification on them, or want to practice them, you are encouraged to visit the following websites: www.musictheory.net www.teoria.com www.emusictheory.com Revised April 2012 Scale and Key Signature Memorization Guide Major Scale Natural Minor Scale Key Signature C♭ Major C♭ D♭ E♭ F♭ G♭ A♭ B♭ C♭ A♭ Minor A♭ B♭ C♭ D♭ E♭ F♭ G♭ A♭ G♭ Major G♭ A♭ B♭ C♭ D♭ E♭ F G♭ E♭ Minor E♭ F G♭ A♭ B♭ C♭ D♭ E♭ D♭ Major D♭ E♭ F G♭ A♭ B♭ C D♭ B♭ Minor B♭ C D♭ E♭ F G♭ A♭ B♭ A♭ Major A♭ B♭ C D♭ E♭ F G A♭ F Minor F G A♭ B♭ C D♭ E♭ F E♭ Major E♭ F G A♭ B♭ C D E♭ C Minor C D
    [Show full text]
  • Enharmonic 1
    Tagg: Everyday Tonality II — Enharmonic 1 Enharmonic Addednum to Tagg’s online glossary 3 pp., 2018-11-11, 11:22, enharmonic.fm ENHARMONIC mus. adj. characteristic of notes having identical pitch in equal-tone tuning but which for practical reasons are ‘spelt’ differ- ently. For example, the note b4 (≈494 hz) is much more likely to be written c$4 (≈494 hz) in the key of B$ minor, but it will inevitably ap- pear as b@ in its own key of B (Fig. 1: 1-2). Similarly, the individual note pitch g, apart from being itself (Fig. 1: 3), should be spelt f! (‘F double sharp’) in a G# minor context (Fig. 1: 4). Just as it would be mad to write d e g$ g@ (5 ^6 $1 $1) for a simple 5-^6-^7-1 run-up from d to g, it’s absurd to write the same 5-^6-^7-1 run-up in G# minor (from d# to g#) as 5-&7-$1-1 or as anything other than d# e# f! g#. Fig. 1. Enharmonic spellings and misspellings 2 Tagg: Everyday Tonality II — Enharmonic Fig. 2. Enharmonic ups & downs: 12 × 12-note chromatic scales (equal-tone tuning) Enharmonics aren’t just a matter of formal correctness, even though seeing, say, d# (‘D sharp’) when it should be e$ (‘E flat’) is a bit like reading ‘I no’ instead of ‘I know’. Enharmonic spelling has more to do with clarity and practical convenience. The idea is to let the notation- ally literate musician know about the immediate tonal context and di- rection of the line being performed, not least if the line is chromatic.
    [Show full text]
  • Note, Pitch, Scale, Melody, Harmony, Chord, Score, Orchestration, Instrumentation, Overture, Aria, Recitative, Finale, Beat, Pulse, Octave
    MUSIC AND COMPOSITION GLOSSARY CATEGORIES Composition: note, pitch, scale, melody, harmony, chord, score, orchestration, instrumentation, overture, aria, recitative, finale, beat, pulse, octave Writing: couplet, rhyming couplet, haiku, story, plot, narrative, libretto, dialogue, character, protagonist, antagonist, setting, detail Organizing words and music: stanza, phrase, chorus, refrain, form, key, ostinato, obbligato Organizing time: meter, rhythm, tempo, measure, time signature, largo, andante, allegro, accelerando, ritardando, rubato, fermata Notation: staff, treble clef, bass clef, whole note/rest, half note/rest, quarter note/rest, eighth note/rest, sixteenth note/rest, triplet, rest, fine, key signature Sounds: timbre, tone color Dynamics: legato, staccato, pianissimo, piano, forte, fortissimo, crescendo, diminuendo, decrescendo Singing: melisma, cadenza, improvisation, ornamentation, range, tessitura, solfège Vocal ranges: soprano, mezzo-soprano, contralto, tenor, baritone, bass Voicings: solo, duo, duet, trio, quartet, quintet, sextet, septet, octet, ensemble, chorus, tutti, unison DEFINITIONS accelerando: gradually becoming faster allegro: quick tempo, cheerful andante: moderate tempo antagonist: the chief opponent of the protagonist in a drama aria: lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion baritone: a male singer with a middle tessitura bass: a male singer with a low tessitura bass clef: a symbol placed at the beginning of the lower staff to indicate the pitch of the notes
    [Show full text]
  • Enharmonic Spelling
    Nineteenth-Century Styles (MUT 3551) Prof. Nancy Rogers W, ! ENHARMONIC SPELLING Enharmonic spelling is the practice of rewriting a note so that it looks different on paper but would be played by the same key on a piano (for instance, C!# and D!b). Although modern musicians may think of these pitches as equivalent, the practice of enharmonic spelling was unusual before the rise of equal temperament because two such pitches might not be exactly the same. (In keeping with this earlier tradition, string players and singers are often advised to perform sharp notes slightly higher and flat notes slightly lower.) It is useful to differentiate recognize three forms of enharmonic spelling: respelling for the sake of convenience, misspelling, and modulation through reinterpretation. Respelling for the sake of convenience Sometimes a composer wants to modulate according to a particular key relationship. For ^ instance, perhaps there is a prominent motive involving b6!, so it seems desirable to modulate to the key of bVI. Usually this is easy: if the composition begins in D, the music can simply modulate to B!b. However, what if the composition begins in D!b? Suddenly we are faced with the prospect of modulating to B!bb — a key that few, if any, performers would like to read for any length of time. Clearly it would be advantageous in this case to respell B!bb as A. (Despite the respelling, it is still customary to identify A as bVI.) Similarly, suppose that the composition emphasizes rising major thirds, so the composer decides to modulate from I to III.
    [Show full text]
  • Piano Key Frequencies 1 Piano Key Frequencies
    Piano key frequencies 1 Piano key frequencies This is a virtual keyboard showing the absolute frequencies in hertz (cycles per second) of the notes on a modern piano (typically containing 88 keys) in twelve-tone equal temperament, with the 49th key, the fifth A (called A4), tuned to 440 Hz (referred to as A440). Each successive pitch is derived by multiplying (ascending) or dividing (descending) the previous by the twelfth root of two (approximately 1.05946309435929...). For example, to get the frequency a semitone up from A4 (A♯4), multiply 440 by the twelfth root of two. To go from A4 to B4 (up a whole tone, or two semitones), multiply 440 twice by the twelfth root of two. For other tuning schemes refer to musical tuning. This list of frequencies is for a theoretically ideal piano. On an actual piano the ratio between semitones is slightly larger, especially at the high and low ends, where string stiffness causes inharmonicity, i.e., the tendency for the harmonic makeup of each note to run sharp. To compensate for this, octaves are tuned slightly wide, stretched according to the inharmonic characteristics of each instrument. This deviation from equal temperament is called the Railsback curve. The following equation will give the frequency f of the nth key, as shown in the table: Alternatively, this can be written as: Virtual keyboard An 88-key piano, with the octaves numbered and Middle C (cyan) and A440 (yellow) highlighted. Key Helmholtz Scientific Frequency (Hz) Corresponding Open Strings number name name Violin Viola Cello Bass Guitar
    [Show full text]