Chapter One − Pitch
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Basic Dynamic Markings
Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Level 1 Theory Book (1.65
Table of Contents Lesson Page Material 1.1 1 Introduction to Music Letter Names The Octave 1.2 7 The Staff The Treble Clef Treble Clef Note Names Treble Clef Ledger Lines 1.3 17 The Bass Clef Bass Clef Note Names Bass Clef Ledger Lines Middle C 1.4 25 Dynamics Tempo Produced by The Salvation Army Music and Gospel Arts Department 3rd Edition Copyright 2018 The Salvation Army Canada and Bermuda Territory 2 Overlea Blvd., Toronto ON M4H 1P4 Original Author: Jeremy Smith Contributors: Leah Antle, Mark Barter, Susan Lee, Mike McCourt, Heather Osmond Lesson 1.1 - Introduction to Music We all hear lots of sounds at any given moment. Listen to the various sounds going on around you right now! How would you describe them? Do they have a pattern? Are they organized? Do you think this is music? Music is organized sound. We can use music to tell other people about Jesus Christ. This can be done through the use of singing, brass, percussion, piano and guitar music —any instrument that will promote God’s glory! Letter Names There are seven letters of the music alphabet: A B C D E F G We use these as note names to classify what a note or pitch sounds like. Notes can ascend (go higher): Notes can descend (go lower): 1 Level 1 Only seven letters? There can’t be just seven sounds in the whole world! The letter names of notes can be repeated when you run out! EXERCISE Fill in the missing note names! E A D B E D G B E D G F B 2 Level 1 The Octave When we have moved from one A to another A, we have played an octave, a term used in music to describe the space between notes of the same letter name. -
Pnrpartnc to Pmy
PurnNC Youn EmcrruC Bnss TocETHER machine heads (tuning pegs) STIP 1 Open your case right side up. SITP 2 Connect the strap securely to the strap buttons. fingerboard SIEP 3 Adjust the strap so that the body of the bass rests at or above your waist. STEP 4 Plug the audio cable into your bass, and then plug the cable into your amplifier. STEP 5 Turn the amplifier on and adjust the volume. toneAolume controls output jack strap button PnrPARtNc To Pmy STEP 1 Sit or stand up straighg with your shoul- ders relaxed. STEP 2 When standing the strap should sup port the full weight of the bass. When sitting restthe curve of the bass on your right thigh, and the back of the bass against your body. STEP 3 Bend your right elbow and position your forearm and wrist over the front of the bass. Your hand should be positioned toward the ground, with your fingers curved toward the strings. PnnpnRrNC To PLqy STEP 4 Fi.rce yon.:i ieft hand thumb behinci the neck. Your thumb shouid not curlover the top of the neckonto thefingerboard. STEP 5 Bend vour left wrist to position your fingers over the fingerboard. Arch your tingers, keeping your palm clear of the neck. Your thumb and fingers should f'cim a "C" shape. r*t \".'l\ l/- t/,*i-r,.i '!--;i ,--''.I;i\jt*-! ,\ 5ir-riRIC *nsg sTtLl ?i.i<*e r.'i;,..ri" ri3ht hanci midr,vay benveen the bridge anC the end of the fingerboard. TTfig.? ,<esi i,c'-;; r!sht hanri tiiumb on the .iih string {! sti'ing}. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Musical Staff: the Skeleton Upon Which Musical Notation Is Hung
DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] Musical Staff: The skeleton upon which musical notation is hung. The Musical Staff is comprised of a clef (5 lines and 4 spaces) on which notes or rests are placed. At one time the staff was made up of 11 lines and 10 spaces. It proved very difficult to read many notes quickly and modern brain research has demonstrated that human perception actually does much better at quick recall when it can “chunk” information into groups smaller than 7. Many years ago, the people developing musical notation created a helpful modification by removing the line that designated where “Middle C” goes on the staff and ending up with two clefs that straddle middle C. The treble clef includes C and all the notes above it. The Bass clef includes C and all the notes below it. (See Transitional Musical Staff): DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] Now the current musical staff has separated the top staff and the bottom staff further apart, but they represent the same pattern of notes as above, now with room for lyrics between the staves. (Staves is the plural form of Staff) DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] The Staves are distinct from each other by their “Clef Sign.” (See above) This example shows the two most commonly used Clef Signs. Compare the Space and Line names in the Historical example and this one. The information is now “chunked” into less than 7 bits of information (which turns out to be the natural limit in the human brain!) on each staff. -
Howtoreadtab.Pdf
Part 1: Tab Basics Old fashioned music snobs will have you believe that tabs are a new fangled system for people who are too lazy to read standard notation. Whereas modern music snobs (like me) say that video tutorials are for people too lazy to learn to read tab. But tabs have actually been around since the 14th Century. They are massively helpful when you’re playing a fretted instrument as they tell you exactly what you need to play (which string and which fret). Something standard notation doesn’t do. First thing to clear up is the difference between tabs and chord charts since some sites mix them up. Chord sheets will show the chord shapes at the top and have the chord changes mapped against the lyrics. Tabs are much more detailed than this. They show you exactly what to play, when and for how long. If you’re looking to move beyond strumming chords it’s a big help to be able to read tab. This ebook is laid out the way I get asked questions about tab: “What does this thing mean?” It is for explaining tab so the descriptions of techniques are very brief. If you’re looking for proper descriptions of the techniques pick up a copy of Ukulele for Dummies. 1.1 What are the horizontal lines? What they look like What they are The strings of the ukulele. Each line represents one of the strings. They are arranged as they’d be if you tilted the ukulele so the strings faced you. -
Tno, /W the EDITION of a QUARTET for SOLO DOUBLE
tNo, /w THE EDITION OF A QUARTET FOR SOLO DOUBLE BASS, VIOLIN, VIOLA, AND VIOLONCELLO BY FRANZ ANTON HOFFMEISTER, A LECTURE RECITAL, TOGETHER WITH SELECTED WORKS BY J.S. BACH, N. PAGANINI S. KOUSSEVITZKY, F. SKORZENY, L. WALZEL AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS by Harry P. Jacobson, M.M. Denton, Texas May, 1982 Jacobson, Harry P., The Edition of a Quartet for Solo Double Bass, Violin, Viola, and Violoncello by Franz Anton Hoffmeister, a Lecture Recital, Together with Three Recitals of Selected Works by J.S. Bach, S. Koussevitsky, N. Paganini, F. Skorzeny, L. Walzel, and Others. Doctor of Musical Arts (Double Bass Performance), May 1982, 68 pp.; score, 31 pp.; 11 illustrations; bibliography, 65 titles. A great amount of solo literature was written for the double bass in the latter half of the eighteenth century by composers working in and around Vienna. In addition to the many concertos written, chamber works in which the bass plays a solo role were also composed. These works of the Viennese contrabass school are an important source of solo literature for the double bass. A solo-quartet by Hoffmeister perviously unpublished was discovered by the author in the archives of the Gesellschaft der Musikfreunde in Vienna. This work contributes to the modern solo repertoire for double bass, and has considerable musical merit. It is a well written work using. cleverly overlapped phrases, counterpoint and imitative writing, and effective juxtaposition of contrasting instrumentation. -
Music Dictionary
Nitschmann Middle School Music Dictionary Principal Words and Symbols used in Modern Music Daniel Zettlemoyer 2010‐2011 # 8va Play the notes indicated up one octave (eight notes higher). 8vb Play the notes indicated one octave lower (eight notes lower). A Accerlerando Gradually increasing in speed, to slowly get faster Accent Emphasis on certain parts of a measure Adagio Slowly, leisurely Ad libitum (ad lib.) Not in strict time A due (a 2) To be played by both instruments Agitato Restless, with agitation Al or Alla In the style of Alla Marcia In the style of a March Allegretto Slower than allegro, moderately fast, faster than andante Allegro Lively, brisk Allegro assai Very rapidly Amoroso Affectionately Andante In moderate slow time Andantino Strictly slower than andante Anima, con Animato With animation A piacere At pleasure; EQuivalent to ad libitum Appassionato Impassioned Arpeggio A broken chord Assai Very, A tempo In the original tempo Attacca Attack or begin what follows without pausing B Barcarolle A Venetian boatman’s song Bis Twice, repeat the passage Bravura Brilliant; bold, spirited Brio, con With much spirit C Cadenza An elaborate, florid passage introduced as an embellishment Cantabile In a singing style Canzonetta A short song or air Capriccio a At pleasure, ad libitum Cavatina An air, shorter and simpler than the aria, and in one division without Da Capo Chord The harmony of three or more tones of different pitch produced simultaneously Coda A supplement at the end of a composition Col or con With Col legno Playing with the wood (bow‐stick) part of the bow. -
Pitch Notation
Pitch Notation Collection Editor: Mark A. Lackey Pitch Notation Collection Editor: Mark A. Lackey Authors: Terry B. Ewell Catherine Schmidt-Jones Online: < http://cnx.org/content/col11353/1.3/ > CONNEXIONS Rice University, Houston, Texas This selection and arrangement of content as a collection is copyrighted by Mark A. Lackey. It is licensed under the Creative Commons Attribution 3.0 license (http://creativecommons.org/licenses/by/3.0/). Collection structure revised: August 20, 2011 PDF generated: February 15, 2013 For copyright and attribution information for the modules contained in this collection, see p. 58. Table of Contents 1 The Sta ...........................................................................................1 2 The Notes on the Sta ...........................................................................5 3 Pitch: Sharp, Flat, and Natural Notes .........................................................11 4 Half Steps and Whole Steps ....................................................................15 5 Intervals ...........................................................................................21 6 Octaves and the Major-Minor Tonal System ..................................................37 7 Harmonic Series ..................................................................................45 Index ................................................................................................56 Attributions .........................................................................................58 iv Available -
List of Musical Symbols Lines Staff the Staff Is the Fundamental Latticework of Music Notation, on Which Symbols Are Placed
List of musical symbols Lines Staff The staff is the fundamental latticework of music notation, on which symbols are placed. There are five staff lines and four intervening spaces Ledger or leger lines These extend the staff to pitches that fall above or below it. Such ledger lines are placed behind the note heads and extend a small distance to each side. Multiple ledger lines can be used when necessary to notate pitches even farther above or below the staff. Bar line These separate measures (see time signatures below for an explanation of measures). Also used for changes in time signature. Bar lines are extended to connect multiple staves in certain types of music, such as keyboard, harp, and conductor scores, but are omitted for other types of music, such as vocal scores. Double bar line These separate two sections of music or are placed before a change in key signature. Bold double bar line These indicate the conclusion of a movement or an entire composition. Bracket Connects two or more lines of music that sound simultaneously, the bracket usually connects the staves of multiple vocal parts in a choir or ensemble Clef Treble clef The centre of the spiral defines the line on which it rests as the pitch G above middle C. Positioned here, it assigns G above middle C to the second line from the bottom of the staff and is referred to as the "treble clef". This is the most commonly encountered clef in modern notation and is used for most modern vocal music. Middle C is the first ledger line below the staff here. -
What's New in Sibelius
What’s New Edition 7.5 February 2014 Legal Notices This product is subject to the terms and conditions of a software license agreement. © 2014 Avid Technology Inc., (“Avid”), all rights reserved. This guide may not be duplicated in whole or in part without the written consent of Avid. Avid, Sibelius and Scorch are registered trademarks of Avid Technology, Inc. All other trademarks are property of their respective owners. This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/ patents. Product features, specifications, system requirements, and availability are subject to change without notice. Guide Part Number 9329-65406-00 REV A 02/14 Contents Introduction. 1 Playback . 2 Playback Dictionary . 5 Performance . 9 Grace Notes . 11 Timeline . 13 Sharing and Export. 15 Musical Structure Text Style . 17 Other changes and improvements . 18 Fixes in Sibelius 7.5. 20 iii What’s new in Sibelius 7.5 Introduction Sibelius 7.5 provides the following new features: Improved interpretation of notation in playback Markings such as A tempo, Tempo primo and Come prima now play back automatically; Sibelius differentiates between acciaccaturas and appoggiaturas on playback; mordents play back automatically; breath marks and caesuras play back automatically. More expressive playback Espressivo has been completely revamped; it is now possible to design your own rhythmic feels for swing, including specifying how far behind or ahead of the beat notes should be played, and using different rhythmic feels for different instruments at the same time; the meter of the music is now emphasized more strongly.