Guitar Pro 7 User Guide 1/ Introduction 2/ Getting Started
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Education ______Ornamentation: an Introduction ______To the Mordent/Battement
Education _______ _______ Ornamentation: An Introduction _______ to the Mordent/Battement By Michael Lynn, One of my favorite ornaments is the I’ll use the French term [email protected] mordent. It often has a lively musical character but can also be drawn out to battement ... and mordent his is the second article I have make a more expressive ornament. interchangeably. written that covers ornaments that Players are often confused about weT might expect to encounter in Baroque the different names for various orna- 17th-century music, which may be music for the recorder. If you haven’t read ments, as well as the different signs played on recorder. the previous article in this series on used to signify them. To add to the Some of the terms we see being ornamentation, it may be helpful complications, the basic term mordent applied to this ornament are: to you to read the Fall 2020 AR was used to mean something com- • mordent installment, which covers trills and pletely different in the 19th century— • mordant appoggiaturas. different from its meaning in the • battement In this issue, we will discuss the Baroque period. • pincé. mordent or battement. In this series of articles on learning I’ll use the French term to interpret ornament signs, I focus on battement (meaning to “hit” or “beat”) music from the years 1680-1750. If you and mordent interchangeably look much outside of these boundaries, throughout this article—remember the situation gets more complicated. that they mean exactly the same thing. These dates encompass all of the Below is an example showing the Baroque recorder literature, with common signs and basic execution the exception of the early Baroque of the mordent. -
Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML. -
Wilson Area School District Planned Course Guide
Board Approved April 2018 Wilson Area School District Planned Course Guide Title of planned course: Music Theory Subject Area: Music Grade Level: 9-12 Course Description: Students in Music Theory will learn the basics and fundamentals of musical notation, rhythmic notation, melodic dictation, and harmonic structure found in Western music. Students will also learn, work on, and develop aural skills in respect to hearing and notating simple melodies, intervals, and chords. Students will also learn how to analyze a piece of music using Roman numeral analysis. Students will be expected to complete homework outside of class and will be graded via tests, quizzes, and projects. Time/Credit for this Course: 3 days a week / 0.6 credit Curriculum Writing Committee: Jonathan Freidhoff and Melissa Black Curriculum Map August: ● Week 1, Unit 1 - Introduction to pitch September: ● Week 2, Unit 1 - The piano keyboard ● Week 3, Unit 1 - Reading pitches from a score ● Week 4, Unit 1 - Dynamic markings ● Week 5, Unit 1 - Review October: ● Week 6, Unit 1 - Test ● Week 7, Unit 2 - Dividing musical time ● Week 8, Unit 2 - Rhythmic notation for simple meters ● Week 9, Unit 2 - Counting rhythms in simple meters November: ● Week 10, Unit 2 - Beat units other than the quarter note and metrical hierarchy ● Week 11, Unit 2 - Review ● Week 12, Unit 2 - Test ● Week 13, Unit 4 - Hearing compound meters and meter signatures December: ● Week 14, Unit 4 - Rhythmic notation in compound meters ● Week 15, Unit 4 - Syncopation and mixing beat divisions ● Week -
Performance Commentary
PERFORMANCE COMMENTARY . It seems, however, far more likely that Chopin Notes on the musical text 3 The variants marked as ossia were given this label by Chopin or were intended a different grouping for this figure, e.g.: 7 added in his hand to pupils' copies; variants without this designation or . See the Source Commentary. are the result of discrepancies in the texts of authentic versions or an 3 inability to establish an unambiguous reading of the text. Minor authentic alternatives (single notes, ornaments, slurs, accents, Bar 84 A gentle change of pedal is indicated on the final crotchet pedal indications, etc.) that can be regarded as variants are enclosed in order to avoid the clash of g -f. in round brackets ( ), whilst editorial additions are written in square brackets [ ]. Pianists who are not interested in editorial questions, and want to base their performance on a single text, unhampered by variants, are recom- mended to use the music printed in the principal staves, including all the markings in brackets. 2a & 2b. Nocturne in E flat major, Op. 9 No. 2 Chopin's original fingering is indicated in large bold-type numerals, (versions with variants) 1 2 3 4 5, in contrast to the editors' fingering which is written in small italic numerals , 1 2 3 4 5 . Wherever authentic fingering is enclosed in The sources indicate that while both performing the Nocturne parentheses this means that it was not present in the primary sources, and working on it with pupils, Chopin was introducing more or but added by Chopin to his pupils' copies. -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below. -
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 . -
Children's Perceptions of Anacrusis Patterns Within Songs
----------------------Q: B ; ~~ett, P. D. (1992). Children's perceptions of anacrusis.......... patterns within songs.~ Texas.... Music Education Research. T. Tunks, Ed., 1-7. Texas Music Education Research - 1990 1 Children's Perceptions of Anacrusis Patterns within Songs Peggy D. Bennett The University of Texas at Arlington In order to help children become musically literate, music teachers have reduced the complexity of musical sound into manageable units or patterns for study. Usually, these patterns are then arranged into a sequence that presumes level of difficulty, and educators lead children through a curriculum based on a progression of patterns "from simple to complex." This practice of using a sequential, "patterned" approach to elementary music education in North America was embraced in 'the 1960's and 1970's when the methodologies of Hungarian, Zoltan Kodaly, and German, Carl Orff, were imported and introduced to American teachers, Touting the "sound before symbol" approach, these methods, for many teachers, replaced the notion of training students to recognize symbols, then to perform the sounds the symbols represented. For many teachers of young children, this era of imported methods reversed the way they taught music, and the organization of music into patterns for study was a monumental aspect of these changes. A "pattern" approach to music education is supported by speech and brain research which indicates that, even when iteJ:t1s are not grouped, individuals naturally process information by organizing it into patterns for retention and recall (Neisser, 1967; Buschke, 1976; Miller, 1956; Glanzer, 1976). Similar processing occurs when musical stimuli are presented (Cooper & Meyer, 1960; Mursell, 1937; Lerdahl & lackendoff, 1983, p. -
Picking Mechanics for Blues Guitar
Picking Mechanics For Blues Guitar Antony Reynaert www.BestBluesGuitarLessonsOnline.com Contents Introduction I. Downstrokes Only . 5 A. When To Use B. Example C. Famous Players Using This Technique II. Alternate Picking . 6 A. When To Use B. Example C. Famous Players Using This Technique III. Economy Picking . .7 A. Why Use Economy Picking? B. Example C. Famous Players Using This Technique IV. Legato Technique . 8 A. When To Use B. Example C. Famous Players Using This Technique V. Sweep Picking . 9 A. When To Use B. Example C. Famous Players Using This Technique VI. Important Considerations . .. 10 copyright (c) Guitar Mastery Solutions Introduction: How To Free The Music Inside Of You By Overcoming Your Guitar Technique Limitations As a blues guitarist you want to express your feelings through your guitar. Before you can free the music in yourself, you need to clear the roadblock that is holding you back from expressing the music freely. Many guitar students struggle with their freedom of expression when playing blues solos, mainly because they believe that ‘blues is an easy style’ and because of this they never focus on blues guitar technique. This mistake causes the student to only get partial results when improvising and lays also at the root of why many struggle to play blues guitar solos effortless. How To Take Your Mind Of Guitar Technique Guitar technique should be practiced in order to take your mind of technique. Once you focused on the right exercises then you will find yourself in a place where you don’t have to actively think about technique anymore (even when playing the most challenging passages, licks, riffs or solos). -
Realguitar 5 User's Manual
REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard .......................................................................................................................................................... -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training.