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Producing an a Cappella CD and Development of a Pitch Detection Program
A Guide to Producing An A Cappella CD and Development of a Pitch Detection Program A Senior Project submitted in partial fulfillment of requirements for the Bachelor of Arts Degree in Liberal Arts and Engineering Studies By Jacob Ray Stringfellow Liberal Arts and Engineering Studies Department College of Engineering California Polytechnic State University San Luis Obispo Spring Quarter, 2012 Abstract An in-depth look at the steps required to produce a CD for an a cappella group. From what microphone and preamplifiers to use, to what steps to take during the editing, mixing, and mastering processes. Finished with a look at pitch detection algorithms and how they work, and a little bit of experimentation with my own algorithm and program. 1. Introduction We live in a world that is filled with music. This music comes in different varieties ranging from hip-hop and rap to country and classical. One genre of music that seems to be on the rise now a day is that of a cappella, or singing without instruments. With shows such as America’s Got Talent showcasing collegiate a cappella groups, and shows like the Sing Off that focus on a cappella singing, it seems that collegiate a cappella groups are reaching a peak in popularity. With a cappella groups being formed, and music being performed, there is also a rising demand to record their music. This presents an interesting challenge. Getting your a cappella group’s song recorded professionally can be costly, and on college student budgets it can be hard to afford. That being said, I suggest that there is a solution to this problem. -
ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning. -
Leading Congregational Singing Song/Hymn Leading Is an Important
Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music. -
Student Organization List 2020-2021 Academic Year (Past)
Student Organization List 2020-2021 Academic Year (past) ALPHABETICAL ORDER Group Name Group Acronym Group Type Organization Type (not so) Average Women NotSoAvWomen Undergraduate Student Organization Independent 14Strings! Cornell Filipino Rondalla 14Strings Undergraduate Student Organization Independent 180 Degrees Consulting at Cornell 180dcCornell Undergraduate Student Organization Independent University 3 Day Startup, Cornell 3DS Undergraduate Student Organization Independent 302 Wait Avenue Co-op 302 Undergraduate Student Organization University A Cappella Advisory Council ACAC Undergraduate Student Organization Independent A Seat at the Table ASATT Undergraduate Student Organization Independent A.G. Musical Theatre Troupe AnythingGoes Undergraduate Student Organization Independent AAP - Cornell AAP ASSOCIATION ASSOCIATION Undergraduate Student Organization Independent Absolute A Cappella Absolute Undergraduate Student Organization Independent Absolute Zero Break Dance Club AZero Undergraduate Student Organization Independent Academy FC, Cornell (CAFC) AcademyFC Undergraduate Student Organization Independent Accounting Association, Cornell CAA Undergraduate Student Organization University ACE: The Ace/Asexual Support Group at ACE Undergraduate Student Organization University Cornell Actuarial Society, Cornell CAS Undergraduate Student Organization University Graduate/Professional Student Advancing Science And Policy ASAP Independent Organization Advent Christian Fellowship, Cornell ACF Undergraduate Student Organization Independent -
A Cappella Sunday Hymn Suggestions YEAR A
Acapella Sunday LECTIONARY YEAR A First Sunday in Lent - 2017, 2020, 2023, 2026 Resource Guide Provided by 1 Tables of Contents Page 3 Bulletin Explanation/Rationale for A Capella Sunday Page 4 - 23 Alphabetical Listing by First Line: MATTHEW 4:1-11 Forty Days, and Forty Nights – Pg. 9 Abide With Me – Pg. 4 Holy Ground (We are Standing on) – Pg. 12 All Hail The Power – Pg. 5 Jesus, Tempted in the Desert – Pg. 15 Amazing Grace – Pg. 6 Lord, Who Throughout These Forty Days – Pg. 16 For All That Dwell Below the Skies – Pg. 7 O For a Thousand Tongues to Sing – Pg. 17 For the Fruit of All Creation – Pg. 8 The Glory of These Forty Days – Pg. 20 Forty Days, and Forty Nights – Pg. 9 When We Are Tested and Wrestle Alone – Pg. 23 Give Me Jesus – Pg. 10 God That Madest Earth and Heaven – Pg. 11 ROMANS 5:12-19 Holy Ground (We are Standing on) – Pg. 12 Amazing Grace – Pg. 6 Jesus, Lover of My Soul – Pg. 13 Give Me Jesus – Pg. 10 Jesus Shall Reign Where'er the Sun – Pg. 14 Jesus, Lover of My Soul – Pg. 13 Jesus, Tempted in the Desert – Pg. 15 Jesus Shall Reign Where'er the Sun – Pg. 14 Lord, Who Throughout These Forty Days – Pg. 16 O For a Thousand Tongues to Sing – Pg. 17 O For a Thousand Tongues to Sing – Pg. 17 O Love, How Deep, How Broad, How High – Pg. 18 Seek Ye First the Kingdom of God – Pg. 19 The Glory of These Forty Days – Pg. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Music Genre Madness
Name: Date: Music Genre Madness Across 1. Melody-only vocal music sung by monks to aid churches in prayer. 2. Originated from African-American work songs and spirituals; lyric-based and expressive. 3. Lyrics about love and dancing from the 1960s-70s. 4. Transmitted through oral tradition with a simple melody and song structure. 5. MCing, turntables, breakdancing, and rhythmic beatboxing are elements of this type of music. 6. Poetry set to classical music, usually sung by a vocalist and simple piano accompaniment, originating in Germany. 7. Jamaican rhythm and blues with topics of news, social gossip, and political commentary. Down 1. Group or solo singing without instrumental accompaniment 2. Four to seven singers also playing instruments such as the guitar, double bass, fiddle, five-string banjo, and mandolin. 3. Folk music from Trinidad and the Caribbean consisting of steel drums, marimbas, horns, shakers, and brassy tambourine. 4. Traditional music of Ireland, Scotland, and Wales using instruments such as the lute, violin, flute, and bagpipes. 5. Singers perform a dramatic work combining text and music in a theatrical setting. Two modes of singing Key For more free tools visit http://edtools.mankindforward.com Across 1. gregorianchant 2. blues 3. disco 4. folk 5. hip-hop 6. lieder 7. reggae Down 1. acapella 2. bluegrass 3. calypso 4. celtic 5. opera Music Genres Name _____________________ Across Down 2. uses technology and heard in clubs 1. music designed to be popular with the masses 5. involves a speaking style vocal delivery 3. most orchestral styles between 1750 and 1820 6. often uses a 12-bar chord structure 4. -
![*Tempo Music V. Famous Music Corp.[ED] 838 F. Supp](https://docslib.b-cdn.net/cover/1267/tempo-music-v-famous-music-corp-ed-838-f-supp-611267.webp)
*Tempo Music V. Famous Music Corp.[ED] 838 F. Supp
Tempo Music v. Famous Music Corp. Tempo Music v. Famous Music Corp. 838 F. Supp. 162 (SDNY 1993) Third-party plaintiffs, Famous Music Corporation and Mercer Ellington (collectively "the Ellington Estate"), filed a third-party complaint against third-party defendant, Gregory A. Morris, executor of the Billy Strayhorn estate ("the Strayhorn Estate") claiming copyright ownership of and entitlement to royalties from particular versions of the jazz classic, Satin Doll. Settlement has been reached on many of the other claims in this litigation.. .. In cross-motions for summary judgment, the parties have asked the Court to resolve an issue of first impression: whether a harmony added to an earlier work can, as a matter of law, be the subject of copyright. The Strayhorn Estate moves for partial summary judgment, seeking an order declaring that Strayhorn's heirs are entitled to one-third of all royalties and other compensation paid, payable and to become payable with respect to the harmony and revised melody. The Ellington Estate cross-moves, seeking an order declaring that as a matter of law, the Strayhorn Estate does not have any interest in any version of Satin Doll when used or performed without the lyrics. .For the reasons stated below, each of the motions is denied. BACKGROUND At the center of this controversy between the heirs of two of American's most well-known composers is the harmony and revised melody of the jazz standard, Satin Doll, as embodied in two particular versions of the work, copyrighted in 1958 and 1960. Four separate embodiments of Satin Doll define the boundaries of the dispute. -
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 .............................................................. -
The Tufts Doobie
Your Look Up First Not Hot THE TUFTS DOOBIE Time CALL: (973) 461-9396 FOR A GOOD TIME ;) THURSDAY, octobeR 31, 2013 TUFTSDOOBIE.COM Tufts cancels all events ever Student leaks footage BY MENGHIS KHAN II CSL policy. Daily StruggleBus This Daily editor tried to track down the student-run Programming Board, In a dramatic move that frankly all which had previously expressed hopes students saw coming, Tufts announced and dreams for planning successful in the latest Strategic Digest Issue replacement events like this year’s Fall XXXII that all university events will be Gala. canceled indefinitely. A student reported that he had seen Major traditions include Spring the entire Programming Board aboard Fling, Winter Bash, Tuftstonia Day, the helicopter which this year was Cage Rage and Fall Gala. hired to take aerial shots of the Tufts “This is not because we believe campus. Tufts students too often abuse alcohol “After they were done taking pic- of upcoming film at these events,” Dean of Campus Life tures, they just flew off into the sun- Bruce Rightman said. “In fact, no Tufts set,” the student said, hypothesizing students ever attend university events that they had rage quit their jobs. under the influence of alcohol or act Megan Oh, a freshman majoring inappropriately. We simply decided to in Indecision, expressed disappoint- take Campus Life in a new direction.” ment that regular entertainers like Oh When asked what his new job will Megan! and The Hypnotist would no entail now that he will no longer spend longer be returning. his days writing emails or Daily op-eds “Those were the only reasons I came about appropriate student behavior at here, really,” she said. -
Video: Tufts a Cappella Group Makes Music Video to Cheer on Red Sox, Koji Uehara in World Series - Tufts - Your Campus - Boston.Com
Video: Tufts a cappella group makes music video to cheer on Red Sox, Koji Uehara in World Series - Tufts - Your Campus - Boston.com MORE CAMPUSES Sign In | Register now TUFTS < Back to front page Text size – + Connect to Tufts TUFTS Follow @YourCampusTufts on Twitter Video: Tufts a cappella group makes music video to cheer on Red Sox, Koji Click here to follow Your Campus Tufts on Twitter. Uehara in World Series ADVERTISEMENT Posted by Matt Rocheleau October 30, 2013 12:09 PM Comments (2) Other Boston Area Campuses 87 33 0 0 E-mail story Boston College Print story Facebook Twitter Pinterest Share Share Boston University Brandeis Emerson Harvard MIT Northeastern Suffolk Tufts Wellesley UMass Boston Simmons Berklee Babson Bentley Recent blog posts Video: Harvard students pose as Yale students, give prank campus tours at rival school Scientists at BU and MIT report breakthrough on water resistant materials MIT student honored by Smithsonian Magazine with American Ingenuity Award By Matt Rocheleau, Town Correspondent MIT student honored by Smithsonian Magazine with An a cappella group at Tufts University, with help from a professor, has created a song American Ingenuity Award 7-year-old cancer survivor drafted to Tufts University men's and video to help cheer the Boston Red Sox on as the hometown team closes in on lacrosse team capturing a World Series title. Emma Wise, president of the Jackson Jills group, said Tufts professor, Nancy Levy- ADVERTISEMENT Konesky, came up with the idea for the song and video with her partner, Robert Geist, and approached the group to see if they would perform the melody. -
Check List for Generating the Audition Pianist's Lead Sheets
Check list for generating the audition pianist’s lead sheets If you’re completely new to the idea of a ‘lead sheet’ – check this reference here https://en.wikipedia.org/wiki/Lead_sheet Here’s what we expect you to check before your audition Make sure the piano parts you provide are written at concert pitch, are legible, with clear directions! Key signature: Are you using a key signature (or is the piece in an open key signature with accidentals written as they occur)? If you are using a key signature, write it on every stave (not just the first). Staves and clefs: Does the piano part need two staves (Are there lines for the left hand to add, in which case are the correct clefs written at the beginning of each line) or is the lead sheet just using a single stave that gives the melody line, with the symbols for each of the accompanying chord written above the stave? Time Signature: Is the Time signature given at the beginning of the piece? 1 Tempo and feel: Is the tempo marking and type of feel given at the beginning of the piece? Are the quavers (eighth notes) swung or straight? Structure and form Is the overall form and structure of the piece to be performance clearly outlined on the part? Is there an introduction (If so give this the heading “intro”)? Is there an outro (If so give this the heading “outro”)? Is there a solo section (If so give this the heading “solo section”)? Bar numbers and rehearsal letters: We recommend you write the bar number at the beginning of each stave and rehearsal letters at the beginning of each new section, so that you and the pianist can locate specific places with ease while rehearsing.