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Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8
Acoustic Guitar 2019 Graded Certificates debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates DEBUT-G5 Technical Exercise submission list Playing along to metronome is compulsory when indicated in the grade book. Exercises should commence after a 4-click metronome count in. Please ensure this is audible on the video recording. For chord exercises which are stipulated as being directed by the examiner, candidates must present all chords/voicings in all key centres. Candidates do not need to play these to click, but must be mindful of producing the chords clearly with minimal hesitancy between each. Note: Candidate should play all listed scales, arpeggios and chords in the key centres and positions shown. Debut Group A Group B Group C Scales (70 bpm) Chords Acoustic Riff 1. C major Open position chords (play all) To be played to backing track 2. E minor pentatonic 3. A minor pentatonic grade 1 Group A Group B Group C Scales (70 bpm) Chords (70 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. A natural minor 2. Major Chords (play all) 3. E minor pentatonic 3. Minor Chords (play all) 4. A minor pentatonic 5. G major pentatonic Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 2 Group A Group B Group C Scales (80 bpm) Chords (80 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. G Major 2. Major and minor Chords 3. E natural minor (play all) 4. A natural minor 3. Minor 7th Chords (play all) 5. -
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. -
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. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭. -
Unicode Technical Note: Byzantine Musical Notation
1 Unicode Technical Note: Byzantine Musical Notation Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is.1 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),2 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use. -
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. -
Generalized Interval System and Its Applications
Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist. -
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick. -
Music Content Analysis : Key, Chord and Rhythm Tracking In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work. -
PDF of Handouts (Part 2
Christof Weiß Ringvorlesung TechTalk . Physics Diploma Philosophische Fakultät, FAU, WS 2019/20 Universität Würzburg . Composition Neue Wege für die Musikforschung mittels HfM Würzburg Digitaler Signalverarbeitung . Ph. D. in Media Technology Fraunhofer IDMT, Ilmenau Christof Weiß, Meinard Müller . Postdoc in Music Processing & Composer International Audio Laboratories Erlangen [email protected], [email protected] AudioLabs / Erlangen-Nürnberg University . 2018: KlarText award for science communication 2 Harmony Analysis Harmony Analysis . Different concepts . Different concepts . Concepts relate to different temporal granularity . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Chord level CM GM7 Am Chords Chord recognition Melody Melody Note level Middle voices Music transcription Note level Middle voices Music transcription Bass line Bass line 3 4 Harmony Analysis Harmony Analysis . The Beatles, Let it be – Chords . Different concepts . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Melody Note level Middle voices Music transcription Source: www.ultimate-guitar.com Bass line 5 6 Harmony Analysis: Local Keys Harmony Analysis: Local Keys . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” (St. John’s Passion) – Local keys (St. John’s Passion) – Local keys E maj B maj E maj B maj E maj B maj E maj Modulation E maj . -
Ecoaccess Guideline for the Assessment of Low Frequency Noise
ECOACCESS GUIDELINE FOR THE ASSESSMENT OF LOW FREQUENCY NOISE Cedric Roberts Environmental Operations, Integrated Assessment, Queensland Environmental Protection Agency, 160 Ann Street, Brisbane, Queensland, Australia 4002 Abstract As a result of the escalation in low frequency noise sources appearing in new industrial development and the incidence of low frequency noise complaints experienced by residents in Queensland, a low frequency noise guideline has been developed by the Environmental Protection Agency. The Guideline is applicable to low frequency noise emitted from industrial premises, commercial premises and mining operations (not blasting), and is intended for planning purposes as well as for the evaluation of existing problems. The intent of the established criteria is to accurately assess annoyance and discomfort to persons at noise sensitive premises caused by low frequency noise with a frequency range from 10 Hz to 200 Hz. The technical paper will describe the main elements of this guideline including: use of the G-weighting function to determine annoyance due to infrasound in the frequency range from 1 Hz to 20Hz and low frequency noise criterion adopted for initial screening inside home environments in terms of Linear, A-weighted and one-third octave band sound pressure levels in the range 20 to 200 Hz. Initially auditory perception is established by comparing one-third octave band frequency sound with the ISO median hearing threshold levels (HTLs) for the best 10% of the aged population (55-60 years old) followed by separate noise criteria applied to establish annoyance from tonal and non-tonal noise. Two examples of the application of the guideline to infrasonic noise and non-tonal noise from industrial equipment are given in the paper. -
The Chromatic Scale
Getting to Know Your Guitar: The Chromatic Scale Your Guitar is designed as a chromatic instrument – that is, guitar frets represent chromatic “semi- tones” or “half-steps” up and down the guitar fretboard. This enables you to play scales and chords in any key, and handle pretty much any music that comes from the musical traditions of the Western world. In this sense, the chromatic scale is more foundational than it is useful as a soloing tool. Put another way, almost all of the music you will ever play will be made interesting not by the use of the chromatic scale, but by the absence of many of the notes of the chromatic scale! All keys, chords, scales, melodies and harmonies, could be seen simply the chromatic scale minus some notes. For all the examples that follow, play up and down (both ascending and descending) the fretboard. Here is what you need to know in order to understand The Chromatic Scale: 1) The musical alphabet contains 7 letters: A, B, C, D, E, F, G. The notes that are represented by those 7 letters we will call the “Natural” notes 2) There are other notes in-between the 7 natural notes that we’ll call “Accidental” notes. They are formed by taking one of the natural notes and either raising its pitch up, or lowering its pitch down. When we raise a note up, we call it “Sharp” and use the symbol “#” after the note name. So, if you see D#, say “D sharp”. When we lower the note, we call it “Flat” and use the symbol “b” after the note.