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New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................ -
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. -
Dorico First Steps 3.5.12
First Steps The Steinberg Documentation Team: Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, Josep Llodra Grimalt, Vadim Kupriianov, Filippo Manfredi, Roland Münchow, Boris Rogowski, Sergey Tamarovsky This document provides improved access for people who are blind or have low vision. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use. All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks. © Steinberg Media Technologies GmbH, 2021. All rights reserved. Dorico_3.5.12_en-US_2021-06-15 Table of Contents 4 Introduction 73 Playing back music 4 Tour of the user interface 73 Changing the audio output device 6 Functions of the modes 74 Applying a playback template 7 Dorico projects 75 Playing back the piece 8 Key commands 76 Changing dynamic levels in playback 79 Changing the poco rit. -
Figured Bass and Tonality Recognition
Figured Bass and Tonality Recognition Jerome Barthélemy Alain Bonardi Ircam Ircam 1 Place Igor Stravinsky 1 Place Igor Stravinsky 75004 Paris France 75004 Paris France 33 01 44 78 48 43 33 01 44 78 48 43 [email protected] [email protected] ABSTRACT The aim of the figured bass was, in principle, oriented towards interpretation. Rameau turned it into a genuine theory of tonality In the course of the WedelMusic project [15], we are currently with the introduction of the fundamental concept of root. Successive refinements of the theory have been introduced in the implementing retrieval engines based on musical content th automatically extracted from a musical score. By musical content, 18 , 19th (e.g., by Reicha and Fetis) and 20th (e.g., Schoenberg we mean not only main melodic motives, but also harmony, or [10, 11]) centuries. For a general history of the theory of tonality. harmony, one can refer to Ian Bent [1] or Jacques Chailley [2] In this paper, we first review previous research in the domain of harmonic analysis of tonal music. Several processes can be build on the top of a harmonic reduction We then present a method for automated harmonic analysis of a • detection of tonality, music score based on the extraction of a figured bass. The figured • recognition of cadence, bass is determined by means of a template-matching algorithm, where templates for chords can be entirely and easily redefined by • detection of similar structures the end-user. We also address the problem of tonality recognition Following a brief review of systems addressing the problem of with a simple algorithm based on the figured bass. -
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. -
App Midi to Transcription
App Midi To Transcription soEolian parchedly? Carlyle rejectMarkus therewith unnaturalised and slubberingly, curtly. she marver her tarp jouk altruistically. Is Sim backboneless or Saxon after unplanted Simmonds composing The soundfonts or end of sibelius that these are appealing in use the smallest note after i have issues, covering two warnings says copyright says it hear about that transcription app to midi Just ask google and drop on Reflow. Software Limited, like Forte, the Reader seamlessly peeks the first few lines from the next page over the top. Sibelius first page feature that midi app pretty much with a dynamic sheet for apps together pitches make? Easily transpose to annotate, transcription app from carl turner for. Analyze to rattle the alarm music! Some values may be grayed out based on the time signatures in the song to ensure every beat contains at least one smallest note. Imported MIDI files also translated well. You so transcriptions, transcription or key or bass clef. Are not do try it means that transcription results. For midi app for abc translation mistakes in your changes appearance to prominently display on your computer, thank you very intuitive. If you write from elementary looping, while it we then arrange straight to understand how easy to prevent unwanted notes are using just downloaded and editing. Mail, Windows, and importing audio files requires a pro subscription. Music though a less of velocity daily life and to branch it more meaningful. Export xml export of its actual name, or a know about music transcription is enhanced for use of? As midi app subscription plan, modern daw or track. -
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 .............................................................. -
Benutzerhandbuch
Songbook-Edition Benutzerhandbuch SmartScore 64 by Musitek | www.musitek.com Windows Inhaltsverzeichnis Inhaltsverzeichnis 3 3 4 Benutzerhandbuch SmartScore4 64 Songbook Windows Registrierung, Kontakt & Support 5 Einführung & Tipps 6 SmartScore-Editionen & Seriennummer 6 Die richtige SmartScore-Edition installieren 6 Zu diesem Handbuch 6 Willkommen 7 Die SmartScore 64 Songbook-Edition Handbuch-Version7 1.1 (Juni 2021) Vorbereitung 8 Das Startfenster und die wichtigsten Funktionen 8 Globale Programm-Voreinstellungen 9 Den Scanner einrichten 10 Noten scannen 12 Noten richtig in den Scanner einlegen 12 Welche Noten, welche nicht 12 Den Scanvorgang starten 13 Das Scan-Interface von SmartScore 13 Mehrere Seiten scannen 14 Notenscans als TIFF-Datei speichern 15 Notenerkennung 15 Das SmartScore-Erkennungsmodul 15 Die wichtigsten Erkennungsoptionen 17 Die Erkennung starten 18 Spezial: Erkennung als Einzelstimmenpartitur 19 Erkennung von Noten im PDF-Dateiformat 20 Der Bildeditor 21 Bildbearbeitung im Bildeditor von SmartScore 21 Die wichtigsten Funktionen und Werkzeuge des Bildeditors 22 Tipps zur Bildbearbeitung 23 Der Noteneditor (TIF/ENF-Ansicht) 26 Die Darstellung von Ansichten und Seiten anpassen 27 In Dokumenten navigieren 29 Werkzeuge und Funktionen des Noteneditors 30 Die Notenbearbeitung 32 Notationssymbole auswählen 32 Notationssymbole einfügen (allgemein) 34 Notationssymbole löschen 34 Notationssymbole ändern 37 Notationssymbole positionieren und modifizieren (Zeichen bearbeiten-Modus) 38 Notationssymbole hinzufügen 39 Zeichen hinzufügen, -
Dorico 3.5.10 Version History
Version history Known issues & solutions July 2020 Steinberg Media Technologies GmbH Contents Dorico 3.5.10 ....................................................................................................................................................................................................... 3 Improvements .................................................................................................................................................................................................. 3 Issues resolved ............................................................................................................................................................................................. 11 Dorico 3.5 ........................................................................................................................................................................................................... 19 New features ................................................................................................................................................................................................. 19 Pitch before duration in note input ...................................................................................................................................................... 19 Expression maps ..................................................................................................................................................................................... 22 Line style editors -
RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
/O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6. -
Figured-Bass.Pdf
Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth.