How to Read Guitar Tab
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7Th GRADE ORCHESTRA 7Th Grade Orchestra Is Offered to All Students Who Have Completed Fairfield Orchestra Skill Level III
7th GRADE ORCHESTRA 7th grade Orchestra is offered to all students who have completed Fairfield Orchestra Skill Level III. Instruction emphasizes instrumental techniques, ensemble rehearsal and performance techniques, and music reading. All orchestra students will receive a small group homogenous lesson once each week. Lessons will take place during the school day on a rotating pull-out basis with the orchestra director or FPS music teacher specializing in orchestra. Recommended lesson size is no more than 6 students. Homework for this class includes regular, consistent practice on assigned lesson and ensemble music. Participation in the Winter and Spring evening curricular concerts is expected and integral for successful completion of this class. 7th grade orchestra is a full year class that meets three times per week. Students electing Orchestra/Chorus will rehearse once per week in Chorus, and twice per week with an Orchestra class. Course Overview All students in the Fairfield Orchestra Program progress Course Goals Artistic Processes through an Ensemble Sequence and instrument specific Students will have the ability to understand • Create Skill Levels. and engage with music in a number of • Perform different ways, including the creative, • Respond Fairfield’s Orchestra Program Ensemble Sequence responsive and performative artistic • Connect processes. They will have the ability to Grade/Course Instrument Ensemble Sequence perform music in a manner that illustrates Anchor Standards Skill Level Marker careful preparation and reflects an • Select, analyze, and 4th Grade Novice understanding and interpretation of the I interpret artistic work for Orchestra selection. They will be musically literate. presentation. 5th Grade Novice II • Develop and refine artistic Orchestra Students will be artistically literate: they will techniques and work for th 6 Grade Intermediate have the knowledge and understanding presentation. -
Sibelius Artwork Guidelines Contents
Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please -
Why and How I Use Lilypond Daniel F
Why and How I Use LilyPond Daniel F. Savarese Version 1.1 Copyright © 2018 Daniel F. Savarese1 even with an academic discount. I never got my money's Introduction worth out of it. At the time I couldn't explain exactly why, but I was never productive using it. In June of 2017, I received an email from someone using my classical guitar transcriptions inquiring about how I Years later, when I started playing piano, I upgraded to use LilyPond2 to typeset (or engrave) music. He was the latest version of Finale and suddenly found it easier dissatisfied with his existing WYSIWYG3 commercial to produce scores using the software. It had nothing to software and was looking for alternatives. He was im- do with new features in the product. After notating eight pressed with the appearance of my transcription of Lá- original piano compositions, I realized that my previous grima and wondered if I would share the source for it difficulties had to do with the idiosyncratic requirements and my other transcriptions. of guitar music that were not well-supported by the soft- ware. Nevertheless, note entry and the overall user inter- I sent the inquirer a lengthy response explaining that I'd face of Finale were tedious. I appreciated how accurate like to share the source for my transcriptions, but that it the MIDI playback could be with respect to dynamics, wouldn't be readily usable by anyone given the rather tempo changes, articulations, and so on. But I had little involved set of support files and programs I've built to need for MIDI output. -
Pipa by Moshe Denburg.Pdf
Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques. -
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. -
Tantacrul Pain Points Addressed in This Document
Note Input Bar Redesign Tantacrul Pain Points Addressed in this Document • The NOTE INPUT BUTTON requires unnecessary steps when notating, which complicates the first time experience • There are too many options at the outset • Customisation is difficult to discover • Certain icons are hard to read (mainly ‘Note input’, ’Tie’ and ‘Flip direction’) • There are some inefficiencies with adding rests Out of Scope • Shortcuts Overview A brief description of visual & layout changes Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Accidentals More Clefs More Duet no.9 Time signatures More Key signatures More Grace notes More Grace notes More Bar lines More Text This is the proposed default layout of the Note Input Bar Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Only two voices (more can be accessed More descriptive Note Input button from the ‘Customise’ button on the far left) (New icon TBD) Accidentals * This particular suggested optimisation should not be More done without seeking wider approval Clefs ‘Customise’ is a button that triggers the existing ‘Customise String Quartet no.9 Toolbars’ dialog More A new Tuplet dropdown Time signatures More Redesigned icons for ‘Tie’ and ‘Flip direction’ Key signatures More (These are not final & ‘Flip direction’ needs to be tested) Grace notes More Less cluttered rest icon Grace notes More Bar lines More Text The Note Input Button Unlike Sibelius, Finale and Dorico, MuseScore requires the user to click a Note Input button before you can actually enter notes. Where the other notation apps have the same concept, they allow the user to immediately enter this mode by clicking on a note duration. -
Active Damping of a Vibrating String
Active damping of a vibrating string Edgar J. Berdahl a Julius O. Smith III b Adrian Freed c Center for Computer Research Center for Computer Research Center for New Music and in Music and Acoustics in Music and Acoustics Audio Technologies (CNMAT) (CCRMA) (CCRMA) University of California Stanford University Stanford University 1750 Arch St. Stanford, CA Stanford, CA Berkeley, CA 94305-8180 94305-8180 94709 USA USA USA ABSTRACT This paper presents an investigation of active damping of the vertical and horizontal transverse modes of a rigidly-terminated vibrating string. A state-space model that emulates the behavior of the string is introduced, and we explain the theory behind band pass filter control and proportional-integral-derivative (PID) control as applied to a vibrating string. After describing the characteristics of various actuators and sensors, we motivate the choice of collocated electromagnetic actuators and a multi- axis piezoelectric bridge sensor. Integral control is shown experimentally to be capable of damping the string independently of the fundamental frequency. Finally, we consider the difference between damping the energy in only one transverse axis, versus simultaneously damping the energy in both the vertical and horizontal transverse axes. 1 INTRODUCTION The study of modal stimulation is the study of actively controlling the vibrating structures in a musical instrument with the intent of altering its musical behavior [1]. Although it is possible to design an instrument such that many aspects are easily controllable, this study applies control engineering to a core component found in many mainstream instruments, the vibrating string. As a result, the actively-controlled instrument is accessible to many musicians; however, this approach makes the control task more challenging because the large number of resonances is not ideal from a control perspective. -
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 .............................................................. -
Standard Music Font Layout
SMuFL Standard Music Font Layout Version 0.5 (2013-07-12) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces glyphs from the Sagittal font, copyright © George Secor and David Keenan. Sagittal is released under the SIL Open Font License and can be downloaded from http://sagittal.org This document also currently reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline (U+E036). § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons (U+E074–U+E078). § Added Time signature + (U+E08C) and Time signature fraction slash (U+E08D) glyphs. § Added Black diamond notehead (U+E0BC), White diamond notehead (U+E0BD), Half-filled diamond notehead (U+E0BE), Black circled notehead (U+E0BF), White circled notehead (U+E0C0) glyphs. § Added 256th and 512th note glyphs (U+E110–U+E113). § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs (U+E172–U+E176) for canzicrans and inverted canons. -
Beyond PDF – Exchange and Publish Scores with Musicxml
Beyond PDF – Exchange and Publish Scores with MusicXML MICHAEL GOOD! DIRECTOR OF DIGITAL SHEET MUSIC! ! APRIL 12, 2013! Agenda • Introduction to MusicXML • MusicXML status and progress in the past year • Possible future directions for MusicXML • Interactive discussions throughout What is MusicXML? • The standard open format for exchanging digital sheet music between applications • Invented by Michael Good at Recordare in 2000 • Developed collaboratively by a community of hundreds of musicians and software developers over the past 13 years • Available under an open, royalty-free license that is friendly for both open-source and proprietary software • Supported by over 160 applications worldwide What’s Wrong With Using PDF? • PDF: Portable Document Format • The standard format for exchanging and distributing final form documents • High graphical fidelity • But it has no musical knowledge – No playback – No alternative layouts – Limited editing and interactivity • PDF duplicates paper – it does not take advantage of the interactive potential for digital sheet music MusicXML Is a Notation Format • Music is represented using the semantic concepts behind common Western music notation • Includes both how a score looks and how it plays back • Includes low-level details of the appearance of a particular engraving, or the nuances of a particular performance – Allows transfer of music between applications with high visual fidelity – Also allows the visual details to be ignored when appropriate – The best display for paper is often not the best for -
Recordare Case Study
Recordare Case Study Recordare Case Study An Altova customer uses XMLSpy and DiffDog to develop MusicXML-based “universal translator” plugins for popular music notation programs. Overview Recordare® is a technology company focused on and Sibelius®. The list of MusicXML adopters also providing software and services to the musical includes optical scanning utilities like SharpEye or community. Their flagship products, the Dolet® capella-scan, music sequencers like Cubase, and plugin family, are platform-independent plugins beyond. Dolet increases the MusicXML support in for popular music notation programs, facilitating all of these programs and promotes interoperability the seamless exchange and interaction of sheet and the sharing of musical scores. music data files by leveraging MusicXML. In creating the Dolet plugins, Recordare used Dolet acts as a high quality translator between Altova's XML editor, XMLSpy, for editing and the MusicXML data format and other applications, testing the necessary MusicXML XML Schemas enabling users to work with these files on any con- and DTDs, and its diff/merge tool, DiffDog, for ceivable system, including industry leading notation regression testing. and musical composition applications Finale® The Challenge Music interchange between applications had Since its original release by Recordare in January traditionally been executed using the MIDI of 2004 (version 2.0 was released in June 2007), (Musical Instrument Digital Interface) file format, MusicXML has gained acceptance in the music a message transfer protocol that has its roots in notation industry with support in over 100 leading electronic music. MIDI is not an ideal transfer products, and is recognized as the de facto XML format for printed music, because it does not take standard for music notation interchange.