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A Guide to the Global Graphic Score Project Contents Introduction 2
A guide to the Global Graphic Score Project Contents Introduction 2 A guide to graphic scores 3 Composing a graphic score 5 Performing a graphic score 6 Global Graphic Score Project | School of Noise 1 Introduction What is it? The Global Graphic Score Project by the School of Noise (in partnership with Alexandra Palace) aims to bring together people from around the world using sound and art. Whatever your age, location or musical or artistic skill level, you are invited to take part in this worldwide experimental sound art collaboration. We would like to encourage people who have never met to be inspired by each other’s artwork to create new sounds and pieces of music. Together we can create a unique collection of beautiful graphic scores and experimental pieces of music. How does it work? • Individuals or groups of people design and upload their graphic scores. • People view the online gallery of graphic scores and select one to download. • These scores are performed and turned into music and sound art pieces. • Recordings are made and loaded to our website for other people to listen to. You can choose to be the composer or the performer. Or maybe try doing both! What next? The next few pages will explain what graphic scores are, provide you with ideas on how to make one, and suggest ways you can turn a graphic score into music. We hope that you have lots of fun creating and performing these graphic scores. Final notes This activity can take place anywhere and you don’t have to have real musical instruments available. -
Audition Preparation Tips Since We Do Not Know Which Group You Will Be
Audition Preparation Tips Since we do not know which group you will be placed in until you perform an audition during your first morning on campus, we are unable to send you the concert music in advance. There is a span of less than 48 hours from the first orchestral rehearsal on Friday, where you see the music for the first time, until the final concert on Sunday. Sight-reading skills are an important component of each group’s success. That is why we have changed the audition process to focus on and assess your ability to sight-read accurately. Sight-reading is a crucial skill which encompasses many aspects of your musicianship. It is valuable to develop the ability to quickly and accurately understand and assimilate the varied information indicated in musical notation including pitches, rhythms, tempos, dynamics and articulation. As with any audition, judges can also assess your technique, tone, intonation, and musicality through sight-reading. You may normally perform much more difficult music than the sight-reading excerpts you see on the stand for auditions. Of course the weeks and months of study and practice you have spent learning that difficult music, and the technical skills you have gained from that experience, will serve you well when you are sight-reading in your audition. You can practice sight-reading before the audition! The more you challenge yourself by playing music you have never seen before, the better you will get at sight-reading. Here are a few tips to help you practice this skill. Before beginning to play look over the music and take note of the following things: Time Signature (4/4, ¾, cut time etc.) Key Signature (how many sharps or flats) Dynamic indications (piano, forte, crescendo etc.) Tempo Indications (Allegro, Adagio, etc. -
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below. -
Study Guid E
Year: 5 Subject: Music Unit of Study: Air Linked Literature: Lives of Musicians by Kathleen Krull / The Story of the Orchestra by Meredith Hamilton Rhythm—reading and India— Pitch—comparison Rhythm—composing Musical chronology Air composition notating Pulse and rhythm through songs within structures Vocabulary I need to know: I need to do: Prior knowledge/skills: Bristol is famous for its mastery of air—hot air balloons and Use voices and instruments to play Refers to the volume of a sound or Explore dynamics through singing, dynamics solo and ensemble with increasing note Concorde - so this unit celebrates that, alongside flight in nature. listening and performing music Through listening to songs and musical compositions, as well as sounds Explore pitch through listening, accuracy , fluency, control and pitch How high or low a note is expression in the environment, we are able to explore and identify the different graphic score study, composing and effects created by pitch, tempo and dynamics. Also, we can reflect on Begin to improvise and compose tempo Musical word for speed performing the feelings that these compositions evoke so that we can intentionally music compose pieces of music that suit the purpose for our work. To be able Explore tempo through listening, Listen with increasing attention to A method used to compose a discussion, conducting and singing graphic score piece of music without using com- to remember their compositions, composers use musical notations, music and recall sounds with mon music notation which can be the commonly recognised method (shown below) or Composing short pieces and noting increasing aural memory graphic score notation. -
Empress Tremolo Manual
tremolo user manual Introduction The Empress Tremolo is an original design built from the ground up to include innovative features without sacrificing tone. The audio signal path is analog, but the tremolo effect is controlled digitally via opto technology. We’ve included features never before seen on a tremolo, including tap tempo and rhythm features, that expand upon the basic effect increasing its functionality and ease of use. To help you get the most out of this product, we’ve put some brief instructional videos on our website: www.empresseffects.com Enjoy, Steve Bragg Quickstart Plug your guitar into the jack on the right side. Plug your amplifier into the jack on the left side. Set the mode switch to “tap tempo” and set the waveform switch to “tube”. Set depth to half, rate to 1:2, rhythm to 1 (all the way counterclockwise), and gain to one half. Now tap the tempo you would like using the tap stomp switch. There’s your standard tremolo. Normal Mode: The rate of the tremolo is controlled by the Controls at a Glance rate knob. Tap Tempo Mode: The rate of the tremolo is set by taping Power: + 9V DC negative on the tap stompswitch twice. The ratio of foot taps to tip 2.1mm jack. 30mA or greater tremolo pulses is set by the rate/ratio knob. The tremolo averages the last 4 intervals tapped, so to get the most accurate tap tempo, tap the tap stompswitch 5 times. Two Speed Mode: There are two separate tremolo rates that can be chosen from. -
BASICS of CONDUCTING Bert Appermont
BASICS OF CONDUCTING Bert Appermont 1) Movement - Body and shoulders relaxed - Small opening between the legs - Swinging with the right arm => pulse (like a clock) - Elbow stays almost motionless 2) Meters 2/4 3/4 4/4 3) Downbeat and upbeat 4) Tempo Changes Look for the relation between the two tempo’s 5) Fermata 1. Conduct with stop 2. Conduct with caesura 3. Conduct fermata followed by a rest (without and with tempo change) 6) Ternary Meters - The curves are similar than (2) - The swing movements are bigger (always with pulsation) - Practice 6/8, 9/8 and 12/8 7) Conducting musical character a. Legato: use a more indirect and “wider” curve b. Staccato / leggiero: use the wrist and the top of the baguette), small movement c. Marcato => give an accent by making the pulsation more active => use the elbows (width) to create space in the sound 8) Conducting dynamics f => big gesture p => small gesture mf => normal gesture fp => give an accentuation and suddenly pull back => gesture gradually becomes bigger => gesture gradually becomes smaller 9) Irregular meters 5/8 7/8 + 8/8 10/8 + 11/8 10) Meter changes Exercises: Conduct the following meters 1. 3/4 + 2/4 and 4/4 + 3/4 2. 6/8 + 3/4 and 6/8 + 2/4 3. 9/8 + 3/4 and 9/8 + 2/4 4. 9/8 + 3/4 and 9/8 + 2/4 5. 7/8 (2+2+3) + 5/8 (3+2) and 7/8 (2+2+3) + 6/8 6. 2/8 + 3/8 + 4/8 + 5/8 + 6/8 + 7/8 + 8/8 + 9/8 + 10/8 + 11/8 + 12/8 (and backwards) 11) Using the left hand - to indicate the start of one instrument or instrumental group - to indicate a musical idea: conduct a crescendo or diminuendo; conduct the phrase; point out an accentuation; Exercise 1: conduct 4/4 in the R.H., give a starting signal with the right hand on the 4 different beats Exercise 2: conduct 4/4 in the R.H., conduct one bar crescendo and one bar dim. -
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. -
SEMIOLOGY and the INTERPRETATION of GREGORIAN CHANT (This Article Was Published in Divini Citltit* Splanion
I he Ntivc, Looking ta>\. SEMIOLOGY AND THE INTERPRETATION OF GREGORIAN CHANT (This article was published in Divini Citltit* Splanion. a Fe^kilirift prepared in honor of Joseph Lennards of the Netherlands on the occasion of his eightieth birthday. Mr. Lennards has devoted his life to the study of Gregorian chant and its teaching through the Ward method. The translation from the French was made by Virginia A. Schubert.) It is fitting to honor a recognized Gregorianist like Joseph Lennards, enthusiastic disciple of Dom Andre Mocquereau, with a discussion of the ideal of the founder of the school of Solesmes. This ideal was proclaimed throughout a long scientific and artistic career which began when a young monk of Solesmes undertook a study of chant more by duty than by choice, and consequently came to realize its incomparable value. Thus, beginning with the general introduction to La Palcographic mu>kalc of 1889 and continuing to the Monographic Crc'gorknnc 17/, written in 1926 to refute Dom Jeannin's theory of dividing chant into measures, one finds different formulations of the same very clear affirmation: "It is in the great variety of notations of neums that one must seek the light on every aspect of Gregorian chant." (Patiogriiphic niu^iuilt, XI, p. 19) The path was thus laid out, SEMIOLOGY 21 but it was a long and difficult one to follow. Is this surprising? When a musical repertoire, which was first only memorized and then fixed on parchment by procedures that were more or less precise, was submitted over several centuries to a deadly and sometimes sytematic degradation, the result is that such a repertoire is so deformed that its true nature can no longer be imagined. -
Acquainted with the Night
Get hundreds more LitCharts at www.litcharts.com Acquainted with the Night sorrow, with raindrops often representing human tears. SUMMARY Therefore, the physical rain that surrounds the speaker is a reflection of the speaker’s sorrow. The speaker declares their familiarity with the night. It was raining when the speaker began a walk across the city, and it As the speaker continues walking, the darkness and sorrow of was still raining at the end of the walk. During the walk, the the surroundings intensify. The speaker walks beyond even the speaker progressed beyond even the outermost light of the “furthest city light,” thus sinking further into physical darkness. city. In a similar vein, the speaker characterizes the “city lane” they look into as the “saddest.” The use of superlatives—"furthest” The speaker looked into the most desolate city street. The and “saddest”—reflects the heightening of the speaker’s speaker also passed by a watchman patrolling the city. The emotions. Indeed, the speaker’s despair and sorrow seem speaker, however, looked down to avoid eye contact with the never-ending; although the speaker continues to progress on watchman, not wanting to talk about the reasons behind the the walk, the speaker doesn’t actually go anywhere on a speaker's nighttime walk. figurative and emotional level. This sense of despair and sorrow During the walk, the speaker stopped moving upon hearing a is inescapable, like the night itself. distant, broken-off cry. The sound of this other human's voice What's more, the speaker’s feelings of suffering and despair traveled across houses from a different street. -
Talking About Poetry: Meter Scansion Means Analyzing a Passage of Verse to Determine Its Meter, Which Generally Refers to a Line
Talking about Poetry: Meter Scansion means analyzing a passage of verse to determine its meter, which generally refers to a line’s type of foot and number of feet per line. Types of feet: 1) Iambic: a light syllable followed by a stressed syllable Ex. The cur few tolls the knell of par ting day. 2) Anapestic: two light syllables followed by a stressed syllable (think the sound of horses hooves) Ex. The As syr ian came down like a wolf on the fold. 3) Trochaic: a stressed followed by a light syllable Ex. There they are, my fif ty men and wo men 4) Dactyllic: a stressed syllable followed by two light syllables Ex. Eve, with her bas ket, was Deep in the bells and grass. Rising meter: strong stress is at the end (iambs and anapests) Falling meter: strong stress is at the beginning (trochees and dactyls) Duple meter: contains two syllables (iambs and trochees) Triple meter: contains three syllables (anapests and dactyls) Occasional variants from theses four standard types of feet: 5) Spondiac: two successive syllables with approximately equal strong stresses Ex. Good strong thick stu pe fy ing in cense smoke. (1st two feet) 6) Pyrrhic: two successive syllables with approximately equal light stresses Ex. My way is to be gin with the be gin ning (2nd and 4th feet) Naming metric lines according to numver of feet per line: Monometer: one foot Pentameter: five feet Dimeter: two feet Hexameter: six feet (Alexandrine= a line of six iambic feet) Trimeter: three feet Heptameter: seven feet Terameter: four feet Octameter: eight feet Other ways of describing -
The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival
The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival Noriko Inoue and Myra Stokes Introduction The metre of Middle English alliterative verse is a subject which remained relatively neglected for much of the last century until a new impetus was given to it by the work of, most notably, Hoyt Duggan, whose findings regarding the rules governing the b-verse (the second half of the alliterative line) have provided a persuasive and thought-provoking focus for renewed interest in the subject.1 Since the structure of the a-verse is now attracting attention, the present seems a timely moment in which to open the subject of the caesura: for whether or not the caesura requires to be audibly signalled by a beat at the conclusion of the a-verse is a matter that bears significantly on any theories of the metrical shape of the first half of the line. The existence of such a stress at the caesura has usually been implicitly assumed, though not often explicitly argued, and has never until recently been seriously questioned. The fact of the caesura itself is accepted by metrists of nearly all persuasions — neces- sarily so, since the distinction between the a-verse and the b-verse (which forms the basis of nearly all metrical discussion of alliterative verse) presupposes some perceived division of the line into separable halves. Norman Davis represented the orthodox view when he stated that ‘the long line is divided by a natural pause, or caesura, into two half-lines each of which normally contains two lifts.’2 Duggan’s -
Problems of Tempo in Puccini's Operas
Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances.