Jamorama How to Tune Your G
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Circuition: Concerto for Jazz Guitar and Orchestra
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA Richard Alan Robinson University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2021.166 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Robinson, Richard Alan, "CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA" (2021). Theses and Dissertations--Music. 178. https://uknowledge.uky.edu/music_etds/178 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
TOPIC 1.3: Sound
TOPIC 1.3: Sound Students will be able to: S3P-1-17 Investigate to analyze and explain how sounds are produced, transmitted, and detected, using examples from nature and technology. Examples: production of sound by a vibrating object, drums, guitar strings, cricket, hummingbird, dolphin, piezocrystal, speakers… S3P-1-18 Use the decision-making process to analyze an issue related to noise in the environment. Examples: sonic boom, traffic noise, concert halls, loudspeakers, leaf blowers… S3P-1-19 Design, construct (or assemble), test, and demonstrate a technological device to produce, transmit, and/or control sound waves for a useful purpose. Examples: sound barrier or protective headphones to reduce the effects of noise, electromagnetic speakers, echo chamber, microphone, musical instruments, guitar pickup, electronic tuner, sonar detector, anechoic chamber, communication devices… S3P-1-20 Describe and explain in qualitative terms what happens when sound waves interact (interfere) with one another. Include: production of beats S3P-1-21 Experiment to analyze the principle of resonance and identify the conditions required for resonance to occur. Include: open- and closed-column resonant lengths S3P-1-22 Experiment to calculate the speed of sound in air. S3P-1-23 Compare the speed of sound in different media, and explain how the type of media and temperature affect the speed of sound. S3P-1-24 Explain the Doppler effect, and predict in qualitative terms the frequency change that will occur for a stationary and a moving observer. S3P-1-25 Define the decibel scale qualitatively, and give examples of sounds at various levels. S3P-1-26 Describe the diverse applications of sound waves in medical devices, and evaluate the contribution to our health and safety of sound-wave- based technologies. -
Fully Automated Guitar Tuner
Fully Automated Guitar Tuner ECE 445 Final Report Benjamin Wang, Brandon Ramos, Cooper Ge Team 71 TA: Vassily Petrov 5/8/20 1 Abstract The problem we chose to address is that tuning guitars is a time consuming and undesirable task for guitar players of all levels. When tuning by ear, it is extremely hard to find the right pitch. The original solution was similar to current commercial tuners; it told you the closest approximate pitch and graphically indicated how sharp or flat you were. Our new solution is an all-in-one tuning solution with minimal user input. Rather than just displaying the input graphically, our device will automatically handle both strumming and tuning to mechanically tune the guitar. The main improvement is convenience for the user. 2 Table of Contents Abstract 1 Table of Contents 2 1 Second Project Motivation 3 1.1 Problem Statement 3 1.2 Solution 3 1.3 High-Level Requirements 3 1.4 Visual Aid 4 1.5 Block Diagram 4 2. Second Project Implementation 6 2.1 Physical Design 6 2.1.1 Physical Design Implementation 6 2.1.2 Physical Design Implementation Analysis 7 2.2 Algorithm 8 2.2.1 Background 8 2.2.2 Algorithm Summary 9 2.2.3 Testing Results 11 Figure 2.2.3.1 Testing Results 1 11 2.2.4 Algorithm Improvements 11 Figure 2.2.4.1 Testing Results 2 12 2.3 Control Logic 12 Figure 2.3.2 Control Logic Pseudocode 13 2.4 Microcontroller 13 2.5 Audio System 14 2.5.1 Audio System Implementation 14 2.5.2 Audio System Implementation Analysis 14 2.6 Bill of Materials and Cost 15 3 Second Project Conclusions 17 3.1 Implementation Summary 17 3.1.1 Algorithm Implementation 17 3.2 Unknowns, Uncertainties and Testing Needed 18 3.3 Safety and Ethics 18 3.4 Project Improvements 19 4 Progress made on First Project 20 5 References 21 3 1 Second Project Motivation 1.1 Problem Statement It’s an unfortunate fact of life that guitars fall out of tune over time. -
^ > Lesson 21 Q Q Q Q Q &
Lesson 21 Common Notation Articulation defines the beginning and end of each note. A slur is one type of articulation. Again, much guitar music is informal and doesn't include many articulation marks, but, here are some others that you may see. Common Articulation Markings _ > ^ . Q Q Q Q Accents - play this note louder and harder Staccato - put a short silence Legato - play very smoothly, than the ones around it. (A strong between the notes with no silence between the notes rest stroke can give a good accent.) Theory Homework Read the first two section ("Introduction" and "Physics, Harmonics, and Color" and the last section (Harmonics on Strings) of Guitar Harmonic Series at http://cnx.rice.edu/content/m11118/latest/ Guitarists play harmonics by touching the string very lightly 1. What fraction of the string is at these harmonic frets? at the correct spot while it is being plucked. What is the interval between the harmonic and the open string? On open strings*, harmonics can only be played easily at the12th, 5th, and 7th frets 12th fret______________________________________ (see theory homework): 5th fret_______________________________________ 12th fret (1/2 string) octave higher 5th fret (1/4 string) two octave higher 7th fret_______________________________________ 7th fret (1/3 string) an octave and a fifth higher 2. Analyze the chord progression on your practice page: (Write I , V and so on over each chord.) Here are the harmonics available Transpose the whole progression into a new key (your choice). on the open A string: Check your transposition by making sure that the harmonic analysis did not change. -
Tuning the Guitar by Ear Classical Guitar Corner Academy
Tuning the Guitar by Ear Classical Guitar Corner Academy www.classicalguitarcorner.com 5th- and 4th-Frets Method 1. First tune the sixth-string open E to a tuner, tun- ing fork, or another instrument already in tune. 2. Play the A on the fifth fret of the sixth string. Now match the open fifth-string A to that pitch. 3. Play the D on the fifth fret of the fifth string. Now match the open fourth-string D to that pitch. 4. Play G on the fifth fret of the fourth string. Now match the open third-string G to that pitch. 5. Play the B on the fourth fret of the third string. Now match the open second-string B to that pitch. 6. Play the E on the fifth fret of the second string. Now match the open first-string E to that pitch. Tuning by unisons will give solid results in that it works well with equal temperament (it doesn’t leave some intervals more in tune than others). This is also a long-standing method for tuning the guitar and is even recommended by Ferdinando Carulli in his early nineteenth-century method (Op. 241: pp. 8-9 of the UE Greman Krempl edition). However, just like the above 5th- and 7th-frets harmonics method, any slight errors from one string to the next will accumulate because this method does not use one reference pitch but instead uses five separate reference pitches. Moreover, using fretted notes will exacerbate any inherent intonation issues with the strings or setup issues such as with the nut and saddle of your guitar and so errors are more prevalent. -
Pedagogical Practices Related to the Ability to Discern and Correct
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Pedagogical Practices Related to the Ability to Discern and Correct Intonation Errors: An Evaluation of Current Practices, Expectations, and a Model for Instruction Ryan Vincent Scherber Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PEDAGOGICAL PRACTICES RELATED TO THE ABILITY TO DISCERN AND CORRECT INTONATION ERRORS: AN EVALUATION OF CURRENT PRACTICES, EXPECTATIONS, AND A MODEL FOR INSTRUCTION By RYAN VINCENT SCHERBER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Ryan V. Scherber defended this dissertation on June 18, 2014. The members of the supervisory committee were: William Fredrickson Professor Directing Dissertation Alexander Jimenez University Representative John Geringer Committee Member Patrick Dunnigan Committee Member Clifford Madsen Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Mary Scherber, a selfless individual to whom I owe much. iii ACKNOWLEDGEMENTS The completion of this journey would not have been possible without the care and support of my family, mentors, colleagues, and friends. Your support and encouragement have proven invaluable throughout this process and I feel privileged to have earned your kindness and assistance. To Dr. William Fredrickson, I extend my deepest and most sincere gratitude. You have been a remarkable inspiration during my time at FSU and I will be eternally thankful for the opportunity to have worked closely with you. -
Hammered Dulcimer Owners Guide.Indd
H D O’ G Dusty Strings Company Founded in 1978, Dusty Strings is a company of dedicated instrument build- ers whose love of wood, fi ne craftsmanship, and music results in some of the fi nest hammered dulcimers and harps available. We invite you to write or call us any time with questions you may have, or simply to let us know about yourself and your dulcimer. We hope your Dusty Strings hammered dulcimer will provide you with many years of musical enjoyment. © 1998 Dusty Strings 3450 16th Ave. W. • Seattle, WA 98119 • (866) 634-1656 www.dustystrings.com Contents Introduction and History .......................................................................................1 Anatomy of the Hammered Dulcimer ....................................................................2 Maintenance and Care of Your Dulcimer ............................................................... 2 String Maintenance .........................................................................................2 String Types .................................................................................................... 3 Replacing Broken Strings ................................................................................ 3 Restringing the Whole Dulcimer..................................................................... 4 String Buzzes ...................................................................................................4 Finish ..............................................................................................................5 General -
1 Basic Tuning for the Autoharp Introduction Setting the Foundation
Basic Tuning for the Autoharp There are many options in tuning, especially for an autoharp. The more experienced player has learned that there are different tuning possibilities in addition to what is referred to as "standard" tuning. However, the beginner should understand and employ the basics, especially when expecting to play with other instruments in a jam. It is simply not true that all other instruments use purely "standard" tuning, but in a group situation, virtually all players depend upon various devices which provide or measure a standard reference pitch. The autoharper's life is easiest when owning and using an electronic tuner. However, there are more traditional methods for obtaining satisfactory results, in the absence of an electronic tuner and special expertise. A pitch pipe, tuning fork, or other instrument already "in tune" are useful references to obtain the foundation pitch(s) for autoharp tuning. In this attempt to provide a method for tuning we will provide two approaches. The first will be a basic guide to using an electronic tuner. The second will be a method for tuning by ear with a reference pitch. Introduction The typical autoharp has 36 or 37 strings with a pitch range of 3 octaves plus a fifth interval. For example, the standard chromatic autoharp starts on F for the lowest note and ranges to C at the highest note. The "middle" octave is the principal melody octave around which most arrangements are built. This octave should be tuned first as the "foundation" for all other octaves. The middle octave begins at 2-3 strings above the corner at the tuning pin end, where the strings become progressively shorter. -
Catalogo 2017.Pdf
ACCESSORIESWOODWINDS DESIGNED FOR MUSICIANS BY MUSICIANS At D’Addario, our favorite word is “innovation,” and we live and breathe it every day. We love when we have one of those moments that make us ask, why hasn’t anybody done this sooner? One problem we continually struggled to solve was getting a strap onto acoustic guitars with end-pin jacks. We knew there had to be a better way, so we set out to find it—enter the Acoustic CinchFit. The CinchFit loops through the end of any instrument strap and eliminates the need to modify your strap, providing added security to make attaching and removing the strap a “cinch.” The CinchFit’s magnetic clamping action allows easy application as well as removal and utilizes the weight of the instrument to remain locked onto the end-pin so your guitar is always held securely…problem solved. Over the years, we’ve also added many innovative advancements to the electronic tuner market. This year, we take our technology back to the basics with our release of the Eclipse Tuner—a high- priced tuner in performance at a low-cost price point. Available in six colors, these tuners feature an intuitive vertical display with two swivel points for limitless positioning on any instrument. The display’s 360-degree rotation also allows it to be used by left- and right-handed musicians and mounted on the front or discretely behind the headstock. Lastly, to complement our newest innovations, this year we welcome the return of The Beatles picks and straps. Once again, we are offering our top-selling woven and vegan straps along with picks in 10-packs and commemorative tins. -
A Handbook of Cello Technique for Performers
CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. -
Joe's Guitar Method Towards a Jazz Improviser's Technique
Joe’s Guitar Method Towards A Jazz Improviser’s Technique I. Intro Pg. 1 II. Tuning & Setup Pg. 5 A. The Grand Staff B. Using a Tuner C. Intonation D. Action and String Gauges E. About Whammy Bars III. Learning The Fretboard Pg. 11 A. The C Major Scale....(how to find the “natural” pitches on each string) IV. Basic Guitar Techniques Pg. 13 A. Overview B. Holding the Pick C. Fretting Hand: Placement of the Fingers D. String Dampening E. Fretting Hand: Placement Of the Thumb F. Fretting Hand: Finger Stretches G. Fretting Hand: The Wrist (About Carpal Tunnel Syndrome) H. Position Playing on Single Strings V. Single String Exercises Pg. 19 A. 6th String B. 5th String C. 4th String D. 3rd String E. 2nd String F. 1st String G. Phrasing Possibilities On A Single String VI. Chords: Construction/Execution/Basic Harmony Pg. 35 A. Triads 1. Construction 2. Movable Triadic Chord Forms a) Freddie Green Style - Part 1 (1) Strumming (2) Pressure Release Points (3) Rhythm Slashes (4) Changing Chords 3. Inversions 4. Open Position Major Chord Forms 5. Open Position - Other Triadic Chords a) Palm Mutes B. Seventh Chords 1. Construction 2. Movable Seventh Chord Forms 3. Open Position Seventh Chord Forms C. Chords With Added Tensions 1. Construction D. Simple Diatonic Harmony E. Elementary Voice Leading F. Changes To Some Standard Tunes 1. All The Things You Are 2. Confirmation 3. Rhythm Changes 4. Sweet Georgia Brown 5. All Of Me 5. All Of Me VII. Open Position Pg. 69 A. Overview B. Picking Techniques 1. -
A Novel Fourier Approach to Guitar String Separation
ISSC 2011, Trinity College Dublin, June 23-24 A Novel Fourier Approach to Guitar String Separation David Ramsay, Ted Burke, Dan Barry, and Eugene Coyle Department of Electrical Engineering Systems Dublin Institute of Technology Dublin, Ireland email : [email protected], [email protected] _______________________________________________________________________________ Abstract— The ability to separate a single string's signal from the standard guitar output has several proven commercial applications, including MIDI control and effects processing. The current body of work in this area, based on expensive hardware modifications to the guitar, would greatly benefit from a generalised DSP-based solution. In this paper, we present a novel solution for the special case of separating the six open strings of a standard electric guitar, for particular use in a rehabilitation technology setting. By re-tuning the guitar strings to frequencies that are chosen at prime number multiples of the analysis window's frequency resolution, a rectangular window is able to capture over 97% of a sounding string's power, while minimising harmonic overlap. Based on this decomposition method, reconstruction of the string's harmonic series using sine wave tables is shown to closely recreate the original sound of the string. This technique for guitar signal resynthesis can robustly separate the signals from each of its six strings with multiple strings sounding, and faithfully reconstruct their sound at new fundamental frequencies in real-time. The combination of intelligent re-tuning and DSP algorithms as described in this paper could be extended to include fretted note detection with further applications in MIDI control or music transcription.