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Getting Started with the Tonalities Music Analysis Software
Getting Started with the Tonalities music analysis software Anthony Pople, University of Nottingham, March 2002 (v6.25/03) The support of the AHRB for the Tonalities project is gratefully acknowledged. Overview This software is part of a larger project that lays stress on the multiplicity of tonal systems in music, focusing particularly on Western music of the late 19th and early 20th centuries. It allows you to analyse passages of music in terms of differing tonal systems that may be configured to a high level of detail from a range of supplied options. To use the software effectively, it is important to have an understand of the basic concepts of the underlying theory, above all: · segmentation · prolonging gamut · connective gamut · the distinction between spelled and unspelled matches of chords and gamuts · the distinction between functional and inclusive chords and gamuts These concepts are explained briefly in what follows, but it is not the purpose of the guide to present the music theory component of the Tonalities project in full. The remainder of this user guide also assumes you are familiar to some extent with Microsoft Windows and Microsoft Excel. The software has been developed in Excel 97 and will not run under earlier versions (though it seems to run under later versions up to and including Excel 2002 – the version supplied in Office XP). I have run it under Windows 98 and Windows Me, though not Windows NT, 2000 or XP. Installing the software If the software has been pre-installed, please skip this section. The Tonalities software is supplied as an Add-In to Microsoft® Excel, running under Microsoft® Windows®. -
Music Instructional Frameworks Instructional Resources Hyperlink Document Music Instructional Frameworks
Music Instructional Frameworks Instructional Resources Hyperlink Document Music Instructional Frameworks Elementary School Music General Music: Grade K Instructional Resource Links Curriculum Resources • Music: General Music: Grade K: Curriculum Map • Music: General Music: Grade K: Counting Systems • Music: General Music: Grade K: Listening Link and Resources Unit Plan 1 • Music: General Music: Grade K: Unit 1: Unit Plan: Foundations of Music Lesson Plan 1 o Music: General Music: Grade K: Unit 1: Lesson Plan 1: Welcome to Music Lesson Plan 1 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 1: Hello, There Activity Music: General Music: Grade K: Unit 1: Lesson Plan 1: Hello, There Activity Video Lesson Plan 2 o Music: General Music: Grade K: Unit 1: Lesson Plan 2: I Can Keep a Steady Beat Lesson Plan 2 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 2: Heartbeats Music: General Music: Grade K: Unit 1: Lesson Plan 2: I Can Keep A Steady Beat! Activity Music: General Music: Grade K: Unit 1: Lesson Plan 2: Strong Beat Weak Beat Music: General Music: Grade K: Unit 1: Lesson Plan 2: Che Che Koolay Activity Lesson Plan 3 o Music: General Music: Grade K: Unit 1: Lesson Plan 3: What Is Rhythm? Lesson Plan 3 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 3: PowerPoint Music: General Music: Grade K: Unit 1: Lesson Plan 3: Duration Rhythms Music: General Music: Grade K: Unit 1: Lesson Plan 3: Simple Rhythms Music: General Music: Grade K: Unit 1: Lesson Plan 3: Rhythm Creation Slips Music: General Music: Grade -
PUA Green Book
Notes for PUA Songbook Two This song book is intended for the purpose of community singing at the ukulele association song circles and not for financial gain. The chord chart on the inside cover is complements of Ralph Shaw, http://www.ralphshaw.ca/ Things to help you get around the song sheets: The songs are in alphabetical order except when there is a two page song. The two- page songs were moved so they could be seen at the same time when the book is open flat. There is a table of contents to point you to the right page for a song. S.N. stands for Starting Note - the 1st note of the melody. It is at the top of each song along with the time signature and other information. N.C. stands for NO CHORD. Don’t play chords during the lyric section with this abbreviation over the phrase. “Ritard.” Ritardando —slowing down (abbreviation: rit. or ritard.) This symbol is used at the end of a number of songs and usually means: give each bar or word of the phrase designated twice the normal length – 4 beats, vs. 2. Used as an ending to some songs. A Coda is a symbol used to show the concluding passage of a piece or movement, it is used as a directional sign on a few pages. Repeat Symbols: ||: :|| Anything between these two symbols are repeated – usually at the end of a song – to indicate that we repeat the last line on or more times to end the song. Many songs have had chords simplified so that inexperienced players can join in more easily. -
Docs-Repo Documentation Release 0.0.1
docs-repo Documentation Release 0.0.1 Ed Kidgell Jul 14, 2020 Contents 1 LICENSE 1 2 Help 3 3 Contact 5 4 Welcome to The Better Music Manual!7 4.1 How can we help you?..........................................7 4.2 Only interested in some of the subjects discussed in this book?.....................7 5 Intro 9 5.1 Background check............................................9 5.2 Experience................................................9 5.3 Starting up................................................9 6 What you can learn from this manual 11 7 The four stages of competence 13 8 The Cheap Seats 15 9 Sound 17 9.1 On Stage................................................. 17 10 The Basics 19 10.1 Know your gear!............................................. 19 10.2 Sound-chain from source to speaker................................... 19 11 The Sound field 21 11.1 Where to put them all.......................................... 21 11.2 Balancing acts.............................................. 22 12 Mixers 23 12.1 Analog / digital desks.......................................... 23 13 Things to consider 25 14 Monitoring 27 i 15 Microphone choice and usage 29 16 Effects 31 17 Equalisation 33 18 Using your instrument 35 18.1 Lead / rhythm guitar issues........................................ 35 19 Rhythm guitar 37 20 Lead guitar 39 21 The Rhythm section 41 21.1 Bass players............................................... 41 21.2 Drummers................................................ 41 22 Getting better at it 43 22.1 Practise................................................. -
FV-LEVEL-ONE-Lesson-1-To-3.Pdf
3rd Edition FULL VOICE® WORKBOOK SERIES Level One iq e h jq Researched and Developed by Nikki Loney and Mim Adams www.thefullvoice.com jq iq E FULL © COPYRIGHT 2014 FULL VOICE MUSIC VOICE All Rights Reserved ISBN: 978-1-897539-13-2 music FVM-L1 eX jq q &h q Welcome to the 3rd Edition FULL VOICE Workbook Series These workbooks have been researched and developed for singers working with a vocal teacher in private or classroom lessons. Every FULL VOICE lesson has fun and educational activities that encourage vocal students to sing, listen, read and write music. These workbooks complement any lesson regardless of the teaching style or repertoire preferred by student or teacher. Introductory Level - For students ages 5-7 who are new to music lessons. Level One - For students who have completed the Introductory Level, or the starting level for students ages 7 and up who have introductory music lesson experience (private, classroom or choral). Also suitable for older students who are new to music lessons. Level Two - For students who have completed Level One, or students who are confident counting eighth notes and sight singing in C Major. Level Three - For students who have completed Level Two, or students who are confident counting dotted quarter notes, singing and identifying intervals and sight singing in C, F, and G Major. FULL VOICE Teacher Resource and Curriculum Guide (Available Online Only) This indispensable e-book makes teaching easier with: Ÿ an overview of the FULL VOICE Workbook Series; Ÿ recommendations for effective lesson pacing; Ÿ recommendations for structuring fun and educational vocal music lessons; Ÿ recommendations for teaching musical concepts to young vocal students; Ÿ additional reproducible lesson materials for your teaching studio. -
Impro-Visor Tutorial
Impro-Visor Tutorial keyed to Impro-Visor Version 4 and later Bob Keller Harvey Mudd College 19 February 2010 Table of Contents (also hyperlinks) 1. Copyright and 37. Simple vs. 73. Starting a Fresh Trademark Harmonic Note Leadsheet 2. Acknowledgment Entry 74. Opening Another 3. Support 38. Undo and Redo Leadsheet 4. Purpose 39. Selecting Slots w/o 75. Saving an Open 5. Downloading Entering Notes Leadsheet 6. Before Installing 40. Summary of 76. Exporting MusicXML 7. Releases Selection 77. Exporting MIDI Files 8. Installing Sequences 78. Getting Advice 9. No-Installer Version 41. Selecting or 79. Scale Choices 10. Release Folder Unselecting 80. Cell Choices Contents Everything 81. Idiom Choices 11. Launching 42. Adding Rests 82. Lick Choices 12. Splash Screen 43. Lengthening Notes 83. Rectification 13. Initial Leadsheet 44. Moving a Bunch of 84. Saving licks Screen Notes 85. Generating Licks 14. Loading a Leadsheet 45. Transposing a 86. Grammar Choices 15. More Leadsheets Bunch of Notes 87. User Preferences 16. Playing a Leadsheet 46. Harmonic 88. Global settings 17. Playing with Count-In Transposition 89. Leadsheet settings 18. Tempo Slider 47. Uniform 90. Chorus settings 19. Playback Location Transposition 91. Style settings Slider 48. Melody Drawing 92. MIDI settings 20. Tracker Delay 49. Transposing Chords 93. Drawing settings 21. Got Sound? 50. Toggling 94. Lick Generator 22. Playback Transpose Enharmonics Settings 23.Positioning the Cursor 51. Copying, Cutting 95. Grammar Editor on the Staff and Pasting 96. Grammar Learning 24. Slots Melodies 97. Solo Generator 25. Changing the Slot 52. Cutting and Pasting 98. Style editor Spacing Across Leadsheets 99. -
The Guitar, the Steamship and the Picnic: England on the Move Transcript
The Guitar, the Steamship and the Picnic: England on the Move Transcript Date: Thursday, 11 December 2014 - 1:00PM Location: St. Sepulchre Without Newgate 11 December 2014 The Guitar, the Steamship and the Picnic: England on the Move Professor Christopher Page I would like to begin with a poem by William Blake, first published in his collection Songs of Innocence in 1789. Many of you will know it; it is entitled The Chimney Sweeper, and you have it, in Blake’s illustrated copy, on the first page of your handout: When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry weep! weep! weep! weep! So your chimneys I sweep & in soot I sleep. There’s little Tom Dacre, who cried when his head That curled like a lamb’s back, was shaved, so I said, “Hush, Tom! never mind it, for when your head’s bare, You know that the soot cannot spoil your white hair.” And so he was quiet, and that very night, As Tom was a-sleeping he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them locked up in coffins of black; And by came an Angel who had a bright key, And he opened the coffins & set them all free; Then down a green plain, leaping, laughing they run, And wash in a river and shine in the Sun. Then naked and white, all their bags left behind, They rise upon clouds, and sport in the wind. And the Angel told Tom, if he’d be a good boy, He'd have God for his father & never want joy. -
Center of My Life
MUSIC CHART Center of My Life High Key - Chord Chart By Greg Ferguson © 2005 Ever Devoted Music. Administered by Willow Creek Association. All Rights Reserved. INCLUDES PARTS FOR: CHORD CHART Note: Purchase of this product entitles your church and/or non-profit organization to photocopy the enclosed material for each musical performer in your church or non-profit organization only. The material is non-transferable between churches or organizations and cannot be 633277874243 resold. PDF Center of My Life (Rhythm - High Key) By Greg Ferguson 4/4 time, 85 b.p.m. INTRO Tacet (Ac. GTR 1 only) 6 4 /4 | /4 || VERSE 1 Tacet (Ac. GTR 1 only) I’m a complicated man trying to make the pieces fit Up before the sun each day trying to make some sense of it You’re the only hope I see to take this scattered soul and set it right And I need you in the center of my | life. | || VERSE 2 D(add 2) D(add 4) D(add 2) D(add 4) Wish that I could wave a wand to | undo every careless word, | D(add 2) D(add 4) D(add 2) D(add 4) D/F# Every friend that I let down, and | cries for help I never heard; | MORE ON COMPLETE FILE © 2005 Ever Devoted Music. Administered by Willow Creek Association. All Rights Reserved. Chord Chart by KLS Center of My Life (Guitar 1) By Greg Ferguson Low Key – as is Original Key – Capo II High Key – Capo V 4/4 time, 85 b.p.m. -
Logic-Based Modelling of Musical Harmony for Automatic Characterisation and Classification
Logic-based Modelling of Musical Harmony for Automatic Characterisation and Classification Amélie Anglade Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy of the University of London School of Electronic Engineering and Computer Science Queen Mary, University of London January 2014 2 I, Amélie Anglade, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: January 29, 2014 Details of collaboration and publications: All collaborations and earlier publications that have influenced the work and writing of this thesis are fully detailed in Section 1.4. 3 Abstract Harmony is the aspect of music concerned with the structure, progression, and relation of chords. -
HSGA QUARTERLY Published Four Times a Year in Honolulu, Hawai‘I by the Hawaiian Steel Guitar Association
HSGA QUARTERLY Published four times a year in Honolulu, Hawai‘i by the Hawaiian Steel Guitar Association Volume 35, Issue 135 Summer 2019 Inside this Issue… “Mark’s Haw’n Fishing 3 Seminar” by Chris Kennison “Constitution Hall Haw’n 4 Show” by F. Della-Penna “Fighting to Save the Haw’n 4 Language” by F. Della-Penna Member Donation 4 Acknowledgements Vintage Guitar Magazine 5 article on Bobby Ingano A mainstay at our Fort Collins festivals and active in all things Hawaiian in the Denver “In the Garden” – Steel Arr. area, Keoni Lagunero singing and playing great, pictured here with one of his daughters. 6 by Troy Brenningmeyer “Mystery Steel Guitarist Fort Collins 2019 Festival Review 8 Revealed” By Mark Kahalekulu hanging over the entire length of the 8 Weekly Steel Guitar Rocky Mountains, the azure sky Hotspots in the Islands My wife Dawn and I were up early brightly outlining the crenulated peaks. “In Memoriam” by Chris in the morning on the first day of the It was an outstanding day even by 9 Kennison Sixth Annual Fort Collins Hawaiian Colorado standards. Music Festival, HSGA’s big mainland We arrived at the Fort Collins Island Festival News – event, which was held this past Sep Hilton earlier than we had planned, 10 Event Reviews & Previews tember 1921. The weather was pre owing probably to the lack of construc 11 “The Seven-Lever Steel dicted to be a bit cooler than the late tion along the highway. We quickly Guitar” by Lion Kobayashi summer days we had gotten accus unloaded our baggage and checked “Bobby Ingano Interview: tomed to, so the air had a crisp feel as into our hotel room, which we found to 11 Touring with Taj Mahal” we loaded up our vehicle for the drive be quite clean and comfortable. -
A-List Electric Guitarist
A-LIST ELECTRIC GUITARIST - POWER CHORDS OPERATION MANUAL The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is subject to a License Agreement and may not be copied to any other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Propellerhead Software AB. ©2014 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason, Reason Essentials and Rack Extension are trademarks of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders. All rights reserved. A-List Electric Guitarist - Power Chords Introduction Electric Guitarist - Power Chords is the second Rack Extension instrument in the A-List series for Propellerhead Reason and Reason Essentials. Think of Electric Guitarist - Power Chords as a professional session guitarist, playing electric rhythm guitar on a top-notch instrument hooked up to hand-selected vintage amps and cabinets, and performing exactly as you wish, while giving you full control over musical performance and mix. And there's more: Electric Guitarist - Power Chords features an on-board, sophisticated amp with speaker cabinets, so that the sound of guitar, amp and speakers is fully under your control. Whether you want to add realistic rhythm guitar tracks to your productions, use it as an inspiration for writing songs on a train or plane, or as source material for creative sound design - it will get you from idea to result as fast as possible. -
Leo Carrillo California History & Art Program
LEO CARRILLO CALIFORNIA HISTORY & ART PROGRAM PROJECT TITLE: Fine-Tuning Guitar Art THEME: Spanish Guitar AGE: Fourth Grade PROJECT INTRODUCTION: Students will learn about the history of the classical Spanish guitar that was a part of the lifestyle at the Leo Carrillo Ranch. Students will be introduced to the famous Mexican folksong “La Golondrina”, a melody played on the guitar and cherished by Leo Carrillo. Students will create and design their own Spanish guitar inspired work of art through mixed media using collage and illustration, personalizing their artwork with intentional images and meaning. ART PROJECT INSPIRATION: SPANISH GUITAR The guitar is one of the most popular and widespread musical instruments played today. It is actually the second most played instrument, with the first being the piano. A person who makes guitars is called a “luthier”. A person who plays the guitar is called a “guitarist”. Guitarists play the guitar by plucking or strumming the strings with their fingers, fingernails, or a pick. There are several types of guitars: Classical, Electric, Steel, Flamenco, 12 String and many more. It was the classical guitar, also known as the Spanish guitar that had a special presence at the Leo Carrillo Ranch. Music played on the Spanish guitar reminded Leo Carrillo of his family history and was very much a part of the life he experienced as a child growing up. The word guitar was adopted into English from the Spanish word “guitarra” in the 1600’s. The country of Spain has had an extraordinary impact on the development of the classical guitar. Spaniards in Andalusia during the 1790’s took the guitar to new heights when they added a sixth string to it.