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Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!E Following Article first Appeared in the Dutch Magazine “De Fagot”
THE DOUBLE REED 103 Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!e following article first appeared in the Dutch magazine “De Fagot”. It is reprinted here with permission in an English translation by James Aylward. Ed.) t used to be that orchestras, when they appointed a new second bassoon, would not take the best player, but a lesser one on instruction from the !rst bassoonist: the prima donna. "e !rst bassoonist would then blame the second for everything that went wrong. It was also not uncommon that the !rst bassoonist, when Ihe made a mistake, to shake an accusatory !nger at his colleague in clear view of the conductor. Nowadays it is clear that the second bassoon is not someone who is not good enough to play !rst, but a specialist in his own right. Jos de Lange and Ronald Karten, respectively second and !rst bassoonist from the Royal Concertgebouw Orchestra explain.) BASS VOICE Jos de Lange: What makes the second bassoon more interesting over the other woodwinds is that the bassoon is the bass. In the orchestra there are usually four voices: soprano, alto, tenor and bass. All the high winds are either soprano or alto, almost never tenor. !e "rst bassoon is o#en the tenor or the alto, and the second is the bass. !e bassoons are the tenor and bass of the woodwinds. !e second bassoon is the only bass and performs an important and rewarding function. One of the tasks of the second bassoon is to control the pitch, in other words to decide how high a chord is to be played. -
Chords and Scales 30/09/18 3:21 PM
Chords and Scales 30/09/18 3:21 PM Chords Charts written by Mal Webb 2014-18 http://malwebb.com Name Symbol Alt. Symbol (best first) Notes Note numbers Scales (in order of fit). C major (triad) C Cmaj, CM (not good) C E G 1 3 5 Ion, Mix, Lyd, MajPent, MajBlu, DoHar, HarmMaj, RagPD, DomPent C 6 C6 C E G A 1 3 5 6 Ion, MajPent, MajBlu, Lyd, Mix C major 7 C∆ Cmaj7, CM7 (not good) C E G B 1 3 5 7 Ion, Lyd, DoHar, RagPD, MajPent C major 9 C∆9 Cmaj9 C E G B D 1 3 5 7 9 Ion, Lyd, MajPent C 7 (or dominant 7th) C7 CM7 (not good) C E G Bb 1 3 5 b7 Mix, LyDom, PhrDom, DomPent, RagCha, ComDim, MajPent, MajBlu, Blues C 9 C9 C E G Bb D 1 3 5 b7 9 Mix, LyDom, RagCha, DomPent, MajPent, MajBlu, Blues C 7 sharp 9 C7#9 C7+9, C7alt. C E G Bb D# 1 3 5 b7 #9 ComDim, Blues C 7 flat 9 C7b9 C7alt. C E G Bb Db 1 3 5 b7 b9 ComDim, PhrDom C 7 flat 5 C7b5 C E Gb Bb 1 3 b5 b7 Whole, LyDom, SupLoc, Blues C 7 sharp 11 C7#11 Bb+/C C E G Bb D F# 1 3 5 b7 9 #11 LyDom C 13 C 13 C9 add 13 C E G Bb D A 1 3 5 b7 9 13 Mix, LyDom, DomPent, MajBlu, Blues C minor (triad) Cm C-, Cmin C Eb G 1 b3 5 Dor, Aeo, Phr, HarmMin, MelMin, DoHarMin, MinPent, Ukdom, Blues, Pelog C minor 7 Cm7 Cmin7, C-7 C Eb G Bb 1 b3 5 b7 Dor, Aeo, Phr, MinPent, UkDom, Blues C minor major 7 Cm∆ Cm maj7, C- maj7 C Eb G B 1 b3 5 7 HarmMin, MelMin, DoHarMin C minor 6 Cm6 C-6 C Eb G A 1 b3 5 6 Dor, MelMin C minor 9 Cm9 C-9 C Eb G Bb D 1 b3 5 b7 9 Dor, Aeo, MinPent C diminished (triad) Cº Cdim C Eb Gb 1 b3 b5 Loc, Dim, ComDim, SupLoc C diminished 7 Cº7 Cdim7 C Eb Gb A(Bbb) 1 b3 b5 6(bb7) Dim C half diminished Cø -
Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8
Acoustic Guitar 2019 Graded Certificates debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates DEBUT-G5 Technical Exercise submission list Playing along to metronome is compulsory when indicated in the grade book. Exercises should commence after a 4-click metronome count in. Please ensure this is audible on the video recording. For chord exercises which are stipulated as being directed by the examiner, candidates must present all chords/voicings in all key centres. Candidates do not need to play these to click, but must be mindful of producing the chords clearly with minimal hesitancy between each. Note: Candidate should play all listed scales, arpeggios and chords in the key centres and positions shown. Debut Group A Group B Group C Scales (70 bpm) Chords Acoustic Riff 1. C major Open position chords (play all) To be played to backing track 2. E minor pentatonic 3. A minor pentatonic grade 1 Group A Group B Group C Scales (70 bpm) Chords (70 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. A natural minor 2. Major Chords (play all) 3. E minor pentatonic 3. Minor Chords (play all) 4. A minor pentatonic 5. G major pentatonic Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 2 Group A Group B Group C Scales (80 bpm) Chords (80 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. G Major 2. Major and minor Chords 3. E natural minor (play all) 4. A natural minor 3. Minor 7th Chords (play all) 5. -
Development of Musical Scales in Europe
RABINDRA BHARATI UNIVERSITY VOCAL MUSIC DEPARTMENT COURSE - B.A. ( Compulsory Course ) (CBCS) 2020 Semester - II , Paper - I Teacher - Sri Partha Pratim Bhowmik History of Western Music Development of musical scales in Europe In the 8th century B.C., The musical atmosphere of ancient Greece introduced its development by the influence of then popular aristocratic music. That music was melody- based and the root of that music was rural folk-songs. In each and every country, the development of music was rooted in the folk-songs. The European Aristocratic Music of the Christian Era had been inspired by the developed Greek music. In the 5th century B.C. the renowned Greek Mathematician Pythagoras had first established a relation between science and music. Before him, the scale of Greek music was pentatonic. Pythagoras changed the scale into hexatonic pattern and later into heptatonic pattern. Greek musicians applied the alphabets to indicate the notes of their music. For the natural notes they used the alphabets in normal position and for the deformed notes, the alphabets turned upside down [deformed notes= Vikrita svaras]. The musical instruments, they had invented are – Aulos, Salpinx, pan-pipes, harp, lyre, syrinx etc. In the western music, the term ‘scale’ is derived from Latin word ‘scala’, ie, the ladder; scale means an ascent or descent formation of the musical notes. Each and every scale has a starting note, called ‘tonic note’ [‘tone - tonic’ not the Health-Tonic]. In the Ancient Greece, the musical scale had been formed with the help of lyre , a string instrument, having normally 5 or 6 or 7 strings. -
GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Use of Scale Modeling for Architectural Acoustic Measurements
Gazi University Journal of Science Part B: Art, Humanities, Design And Planning GU J Sci Part:B 1(3):49-56 (2013) Use of Scale Modeling for Architectural Acoustic Measurements Ferhat ERÖZ 1,♠ 1 Atılım University, Department of Interior Architecture & Environmental Design Received: 09.07.2013 Accepted:01.10.2013 ABSTRACT In recent years, acoustic science and hearing has become important. Acoustic design tests used in acoustic devices is crucial. Sound propagation is a complex subject, especially inside enclosed spaces. From the 19th century on, the acoustic measurements and tests were carried out using modeling techniques that are based on room acoustic measurement parameters. In this study, the effects of architectural acoustic design of modeling techniques and acoustic parameters were investigated. In this context, the relationships and comparisons between physical, scale, and computer models were examined. Key words: Acoustic Modeling Techniques, Acoustics Project Design, Acoustic Parameters, Acoustic Measurement Techniques, Cavity Resonator. 1. INTRODUCTION (1877) “Theory of Sound”, acoustics was born as a science [1]. In the 20th century, especially in the second half, sound and noise concepts gained vast importance due to both A scientific context began to take shape with the technological and social advancements. As a result of theoretical sound studies of Prof. Wallace C. Sabine, these advancements, acoustic design, which falls in the who laid the foundations of architectural acoustics, science of acoustics, and the use of methods that are between 1898 and 1905. Modern acoustics started with related to the investigation of acoustic measurements, studies that were conducted by Sabine and auditory became important. Therefore, the science of acoustics quality was related to measurable and calculable gains more and more important every day. -
Nora-Louise Müller the Bohlen-Pierce Clarinet An
Nora-Louise Müller The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing Technique The Bohlen-Pierce scale was discovered in the 1970s and 1980s by Heinz Bohlen and John R. Pierce respectively. Due to a lack of instruments which were able to play the scale, hardly any compositions in Bohlen-Pierce could be found in the past. Just a few composers who work in electronic music used the scale – until the Canadian woodwind maker Stephen Fox created a Bohlen-Pierce clarinet, instigated by Georg Hajdu, professor of multimedia composition at Hochschule für Musik und Theater Hamburg. Hence the number of Bohlen- Pierce compositions using the new instrument is increasing constantly. This article gives a short introduction to the characteristics of the Bohlen-Pierce scale and an overview about Bohlen-Pierce clarinets and their playing technique. The Bohlen-Pierce scale Unlike the scales of most tone systems, it is not the octave that forms the repeating frame of the Bohlen-Pierce scale, but the perfect twelfth (octave plus fifth), dividing it into 13 steps, according to various mathematical considerations. The result is an alternative harmonic system that opens new possibilities to contemporary and future music. Acoustically speaking, the octave's frequency ratio 1:2 is replaced by the ratio 1:3 in the Bohlen-Pierce scale, making the perfect twelfth an analogy to the octave. This interval is defined as the point of reference to which the scale aligns. The perfect twelfth, or as Pierce named it, the tritave (due to the 1:3 ratio) is achieved with 13 tone steps. -
Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale. -
Practical Music Theory – Book 1 by Pete Ford Table of Contents
Practical Music Theory – Book 1 by Pete Ford Table of Contents Preface xi About This Book Series xii To the Instructor xii Acknowledgements xii Part One Chapter 1: Notation 1 Clefs 1 The Grand Staff 2 Notes 2 Rests 3 Note Names 4 Rhythm 5 Simple Time 6 Dotted Notes in Simple Time 7 Compound Time 8 Subdivision in Compound Time 10 The Phrase Marking, Slur and the Tie 12 The Tie in Simple Time 12 The Tie in Compound Time 13 Repeat Signs, da Capo, and More 14 Assignment 1-1: Name the Notes 19 Assignment 1-2: Simple Time 21 Assignment 1-3: Compound Time 23 Chapter 2: Key Signatures 25 Writing Accidental Signs 25 The Cycle of Fourths 26 Key Signatures with Flats 27 Key Signatures with Sharps 28 Enharmonic Keys 30 Assignment 2-1: Name the Key Signature 33 Assignment 2-2: Key Signatures 35 Table of Contents Chapter 3: Building Scales 37 Writing the Major Scale 38 Introduction to Solfege 39 The Relative Minor Scale 40 The Cycle with Minor Keys Added 41 Writing the Natural Minor Scale 41 Solfege in Minor Keys 42 The Harmonic Minor Scale 44 The Melodic Minor Scale 46 Assignment 3-1: Write the Scales #1 49 Assignment 3-2: Write the Scales #2 51 Chapter 4: Intervals 53 Primary Intervals of the Major Scale 53 Writing Ascending Intervals 55 Writing Descending Intervals 57 Playing Intervals on the Piano 59 Hearing and Singing Intervals 59 Secondary Intervals 60 Writing Descending Secondary Intervals 62 Assignment 4-1: Write the Intervals 65 Assignment 4-2: Secondary Intervals 67 Part Two Chapter 5: Building Chords (SATB) 71 Triads of the Major Scale -
Key Relationships in Music
LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related.