Clef Transposition
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The Journal of the Viola Da Gamba Society Text Has Been Scanned With
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 19 (1990) (Editor: Lynn Hulse) Ian Payne The Provision of Teaching on Viols at some English Cathedral Churches, c. 1594 – c. 1645: Archival Evidence Chelys, vol. 19 (1990), pp. 3-15 Robert Thompson The Sources of Locke’s Consort ‘for seaverall friends’ Chelys, vol. 19 (1990), pp. 16-43 Carl Hugo Ågren The use of Higher Positions on the Treble Viol. Chelys, vol. 19 (1990), pp. 44-54 Dietrich Kessler A Seven-String Bass Viol by Michel Colichon Chelys, vol. 19 (1990), pp. 55-62 Letters, pp.63-4 Obituaries (Robert Donington; Marco Pallis), pp. 65-69 Reviews, pp. 70-80 [3] THE PROVISION OF TEACHING ON THE VIOLS AT SOME ENGLISH CATHEDRAL CHURCHES, c. 1594-c.1645: ARCHIVAL EVIDENCE IAN PAYNE This paper is intended to supplement an earlier article outlining the archival evidence for a viol-playing tradition at Trinity College, Cambridge, c.1594-c.1615.1 Like its predecessor, it is based on doctoral research among the administrative archives of selected institutions (of which only Ely, Lincoln, and Peterborough Cathedrals and York Minster are relevant to the present paper)2 and is concerned with the evidence for the provision of viols by the authorities. -
Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
Treble Voices in Choral Music
loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today. -
Playing Harmonica with Guitar & Ukulele
Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord. -
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 ............................................................ -
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. -
An App to Find Useful Glissandos on a Pedal Harp by Bill Ooms
HarpPedals An app to find useful glissandos on a pedal harp by Bill Ooms Introduction: For many years, harpists have relied on the excellent book “A Harpist’s Survival Guide to Glisses” by Kathy Bundock Moore. But if you are like me, you don’t always carry all of your books with you. Many of us now keep our music on an iPad®, so it would be convenient to have this information readily available on our tablet. For those of us who don’t use a tablet for our music, we may at least have an iPhone®1 with us. The goal of this app is to provide a quick and easy way to find the various pedal settings for commonly used glissandos in any key. Additionally, it would be nice to find pedal positions that produce a gliss for common chords (when possible). Device requirements: The application requires an iPhone or iPad running iOS 11.0 or higher. Devices with smaller screens will not provide enough space. The following devices are recommended: iPhone 7, 7Plus, 8, 8Plus, X iPad 9.7-inch, 10.5-inch, 12.9-inch Set the pedals with your finger: In the upper window, you can set the pedal positions by tapping the upper, middle, or lower position for flat, natural, and sharp pedal position. The scale or chord represented by the pedal position is shown in the list below the pedals (to the right side). Many pedal positions do not form a chord or scale, so this window may be blank. Often, there are several alternate combinations that can give the same notes. -
Recognizing Key Signatures Music Fundamentals 14-119-T
Recognizing Key Signatures Music Fundamentals 14-119-T Constructing the Key Signature: In the last lecture, we connected scales and tonality. We also found that in order to alleviate the labor of writing accidentals, key signatures Figure 1 were created. To review, key signatures are placed immediately after a clef, and they indicate what accidentals are needed throughout a composition, thus those accidentals would not have to be written next to a note in the music [see Figure 1]. Any note that does not have an accidental is considered natural. Key signatures will have either all sharps or all flats. Key signatures with both sharps and flats do not exist. Figure 2 Key Signatures 2 - page 1 The Circle of 5ths: One of the easiest ways of recognizing key signatures is by using the circle of 5ths [see Figure 2]. To begin, we must simply memorize the key signature without any flats or sharps. For a major key, this is C-major and for a minor key, A-minor. After that, we can figure out the key signature by following the diagram in Figure 2. By adding one sharp, the key signature moves up a perfect 5th from what preceded it. Therefore, since C-major has not sharps or flats, by adding one sharp to the key signa- ture, we find G-major (G is a perfect 5th above C). You can see this by moving clockwise around the circle of 5ths. For key signatures with flats, we move counter-clockwise around the circle. Since we are moving “backwards,” it makes sense that by adding one flat, the key signature is a perfect 5th below from what preceded it. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training. -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Major and Minor Scales Half and Whole Steps
Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.