A Beginner's Guide to Singing Gregorian Chant Notation, Rhythm
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Visual Rhythm
Visual Rhythm • Visual Rhythm is a Principle of Art. • Visual Rhythm is rhythm you receive through your eyes rather than your ears. • Visual Rhythm is created by repeated positive shapes separated by negative spaces. • Visual Rhythm is all around us. FIVE TYPES OF RHYTHM • Regular • Alternating • Random • Flowing • Progressive Regular Rhythm • Regular Rhythms and patterns have identical motifs or visual beats. • They have an equal amount of space between motifs. • Parking spaces are laid out in a regular rhythm. • Bricks on a wall form a regular rhythm. Alternating Rhythm • Alternating rhythm and pattern can be achieved by changing motifs at regular intervals. • Think of the black and white squares on a chess board. • Here the elephants alternate color and direction. Random Rhythm • The motif is repeated in no apparent order. • You can not predict exactly where the next motif will be. • Splashes of paint on a wall would create a random rhythm. • It would be difficult to predict where the next flower would be. Flowing Rhythm • Flowing rhythms are created by repeating wavy lines and curved shapes. Progressive Rhythm • In progressive rhythm there is a change in motif or visual beat each time it is repeated. See if you can identify the type of visual rhythm. Regular Rhythm • The motif stays the same and the distance between the motifs stays consistant. What type of rhythm do you see? Flowing Rhythm • The pattern is made up of curved motifs. What type of rhythm do you see? Regular Rhythm • The motif of the brick and the interval of the mortar are consistant. -
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. -
Basic Dynamic Markings
Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot. -
Chapter 1 "The Elements of Rhythm: Sound, Symbol, and Time"
This is “The Elements of Rhythm: Sound, Symbol, and Time”, chapter 1 from the book Music Theory (index.html) (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This content was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. i Chapter 1 The Elements of Rhythm: Sound, Symbol, and Time Introduction The first musical stimulus anyone reacts to is rhythm. Initially, we perceive how music is organized in time, and how musical elements are organized rhythmically in relation to each other. Early Western music, centering upon the chant traditions for liturgical use, was arhythmic to a great extent: the flow of the Latin text was the principal determinant as to how the melody progressed through time. -
An Overview of Russia's Late Mediaeval Musical
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 183–197 ISSN 2342-1258 https://journal.fi/jisocm An Overview of Russia’s Late Mediaeval Musical Culture, and the “New Repertoires”: Demestvenny, Put and Strochnóe Singing and Notations Nikita Simmons [email protected] Part I. Znamenny Chant and Stolp Notation1 In the primary tradition of Znamenny singing, almost all chant books of the Russian liturgical tradition used Stolp (Znamenny) notation. The Slavonic word stolp (pillar) describes the eight-week cycle of the Octoechos, while the Slavonic term znamya means “mark”, “note”, or “neume”. Slavic Stolp notation (along with early chant repertoire) has been in use since the tenth century (having been derived from Coislin B Palaeobyzantine notation), and in its latest stage of development it is still used by Russian Old Ritualists up to the present time. Beyond the basic level of neume-by-neume notation, Stolp chanting includes three methods of presenting complex melodic features: popévki, litsá and fíty, each of which were traditionally memorized by singers. (Popévki, also called kokízy2, are established sequences of neumes which are the essential “building blocks” of Znamenny chants, while litsa and fity are more lengthy and complex melodic patterns.) These contextual groups of symbols are usually referred to as “múdrye stróki” (“wise lines” or short- hand), indicating the use of “tainozamknénnost” (“secret-closure” or encryption). Stolp chanting, like its Byzantine parent, is organized according to the system of eight Tones, and each Tone (Slavonic: glas) contains a repertoire of popevki, fity and 1 Among the ranks of musicologists who have contributed significantly to the recovery of Russia’s late medieval musical traditions, we are most indebted to М.В. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
The Expressive Role of Rhythm and Meter in Schumann╎s Late Lieder
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 9 July 2009 The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder Harald Krebs University of Victoria, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Krebs, Harald (2009) "The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. THE EXPRESSIVE ROLE OF RHYTHM AND METER IN SCHUMANN’S LATE LIEDER HARALD KREBS t has long been recognized that Robert Schumann was, along with Beethoven and Brahms, I one of the great pioneers of rhythm and meter in the nineteenth century. From his writings, it is evident that he was interested in these aspects of music from a theoretical standpoint; his frequent comments on rhythm and meter, in his reviews of other composers’ works, show how attentive he was to these aspects.1 But his interest went beyond the theoretical: as his music makes clear, he regarded rhythm and meter as significant expressive elements. -
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. -
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 .............................................................. -
Plainchant Tradition*
Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota tion in use in Italy, Spain, France, and England-the "Romanic" lands from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve ment. -
Basic Rhythm Recognition
Electrocardiographic Interpretation Basic Rhythm Recognition William Brady, MD Department of Emergency Medicine Cardiac Rhythms Anatomy of a Rhythm Strip A Review of the Electrical System Intrinsic Pacemakers Cells These cells have property known as “Automaticity”— means they can spontaneously depolarize. Sinus Node Primary pacemaker Fires at a rate of 60-100 bpm AV Junction Fires at a rate of 40-60 bpm Ventricular (Purkinje Fibers) Less than 40 bpm What’s Normal P Wave Atrial Depolarization PR Interval (Normal 0.12-0.20) Beginning of the P to onset of QRS QRS Ventricular Depolarization QRS Interval (Normal <0.10) Period (or length of time) it takes for the ventricles to depolarize The Key to Success… …A systematic approach! Rate Rhythm P Waves PR Interval P and QRS Correlation QRS Rate Pacemaker A rather ill patient……… Very apparent inferolateral STEMI……with less apparent complete heart block RATE . Fast vs Slow . QRS Width Narrow QRS Wide QRS Narrow QRS Wide QRS Tachycardia Tachycardia Bradycardia Bradycardia Regular Irregular Regular Irregular Sinus Brady Idioventricular A-Fib / Flutter Bradycardia w/ BBB Sinus Tach A-Fib VT PVT Junctional 2 AVB / II PSVT A-Flutter SVT aberrant A-Fib 1 AVB 3 AVB A-Flutter MAT 2 AVB / I or II PAT PAT 3 AVB ST PAC / PVC Stability Hypotension / hypoperfusion Altered mental status Chest pain – Coronary ischemic Dyspnea – Pulmonary edema Sinus Rhythm Sinus Rhythm P Wave PR Interval QRS Rate Rhythm Pacemaker Comment . Before . Constant, . Rate 60-100 . Regular . SA Node Upright in each QRS regular . Interval =/< leads I, II, . Look . Interval .12- .10 & III alike .20 Conduction Image reference: Cardionetics/ http://www.cardionetics.com/docs/healthcr/ecg/arrhy/0100_bd.htm Sinus Pause A delay of activation within the atria for a period between 1.7 and 3 seconds A palpitation is likely to be felt by the patient as the sinus beat following the pause may be a heavy beat. -
Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements
En Music, Mind, and Embodiment. 11th International Symposium, CMMR 2015. (Suiza): Springer International Publishing. Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements. Naveda, Luiz, Martínez, Isabel Cecilia, Damesón, Javier, Pereira Ghiena, Alejandro, Herrera, Romina y Ordás, Alejandro. Cita: Naveda, Luiz, Martínez, Isabel Cecilia, Damesón, Javier, Pereira Ghiena, Alejandro, Herrera, Romina y Ordás, Alejandro (2016). Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements. En Music, Mind, and Embodiment. 11th International Symposium, CMMR 2015. (Suiza): Springer International Publishing. Dirección estable: https://www.aacademica.org/alejandro.pereira.ghiena/40 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite http://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: http://www.aacademica.org. Richard Kronland-Martinet Mitsuko Aramaki Sølvi Ystad (Eds.) Music, Mind, LNCS 9617 and Embodiment 11th International Symposium, CMMR 2015 Plymouth, UK, June 16–19, 2015 Revised Selected Papers 123 Lecture Notes in Computer Science 9617 Commenced Publication in 1973 Founding and Former Series Editors: Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen Editorial Board David Hutchison Lancaster University, Lancaster, UK Takeo Kanade Carnegie Mellon University, Pittsburgh, PA, USA Josef Kittler University of Surrey, Guildford, UK Jon M. Kleinberg Cornell University, Ithaca, NY, USA Friedemann Mattern ETH Zurich, Zurich, Switzerland John C.