List of Musical Notes in Order
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A Chronicle of Sound: Establishing Community | by Anna Zimmerman | Published by Sapphire Leadership Group, LLC Table of Contents
Copyright © 2020 AnnA Zimmerman All rights reserved. No part of this publication may be reproduced or used in any manner without written permission of the copyright owner, except for the use of brief quotations in reviews and certain other non-commercial uses permitted by copyright law. The ideas and opinions expressed in this publication are those of the author and are not intended to represent Sapphire Leadership Group, LLC. First Edition: April 2020 Published by Sapphire Leadership Group, LLC www.theslg.com All further inquiries may be directed to AnnA Zimmerman at: [email protected] A Chronicle of Sound: Establishing Community | by AnnA Zimmerman | Published by Sapphire Leadership Group, LLC Table of Contents Introduction.............................................................................. 4 Elements of Music and Sound ...............................................5 Pythagoras and Ratios ...............................................................................................................................................................................6 Ancient Instruments ...................................................................................................................................................................................9 Physics of Sound ...........................................................................................................................................................................................9 Healing Frequency Streams ................................................................................................................................................................12 -
Basics Music Principles E-Book
Basic Music Principles (e-book edition) Copyright © 2011-2013 by Virtual Sheet Music Inc. All rights reserved. No part of this e-book shall be reproduced or included in a derivative work without written permission from the publisher. It can be shared instead anywhere on the web or on printed media in its entirety. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this e-book, the publisher and authors assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of the information contained herein. REMEMBER! YOU ARE WELCOME TO SHARE AND DISTRIBUTE THIS BOOK ANYWHERE! Trademarks All terms mentioned in this e-book that are known to be trademarks or service marks have been appropriately capitalized. Publisher cannot attest to the accuracy of this information. Use of a term in this e-book should not be regarded as affecting the validity of any trademark or service mark. Virtual Sheet Music® and Classical Sheet Music Downloads® are registered trademarks in USA and other countries. Warning and Disclaimer Every effort has been made to make this e-book as complete and as accurate as possible, but no warranty is implied. The information provided is on an “as is” basis. The authors and the publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this e-book. The E-Book’s Website Find out more, contact the author and discuss this e-book at: http://www.virtualsheetmusic.com/books/basicmusicprinciples/ Published by Virtual Sheet Music Inc. -
Musical Genres - Styles and Eras
Musical Genres - Styles and Eras. Classifying music into various genres does not have a right or wrong system. There are many genres & subgenres, and different ways of classifying music. At the broadest level, we can talk about music as being part of the Classical, Folk, Jazz, or World Music traditions. This resource touches [very briefly] on the Classical Music tradition. Typically when people talk about “classical music” they are referring to music written in the European tradition, though of course, this music could now be written anywhere in the world. Classical music can be written in a number of different styles, and the date when it was written can give a strong hint about which style it is in. In broad terms the Medieval era runs up until 1400BC, the Renaissance from 1400-1600, the Baroque era from 1600-1750, the Classical from 1750-1820 (ish), and the Romantic era from 1810-1910. The current Modern classical period run from around the start of the twentieth century and is further complicated by being subcategorized into a shed-load of different styles. Sorry. Does it matter? Yes! (and No). The thing is, some folk (ok, Teachers [and examiners!]) can get very sniffy if music from one period is played in the wrong manner. Think of an opera singer trying to do rap music. IT JUST DOESN’T SOUND RIGHT. It’s not Authentic. The reason why the answer might be “No”, is that music is about having fun, and being playful & creative, and sometimes it just works even when it shouldn’t. -
Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML. -
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 ............................................................ -
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. -
An Exploration of the Relationship Between Mathematics and Music
An Exploration of the Relationship between Mathematics and Music Shah, Saloni 2010 MIMS EPrint: 2010.103 Manchester Institute for Mathematical Sciences School of Mathematics The University of Manchester Reports available from: http://eprints.maths.manchester.ac.uk/ And by contacting: The MIMS Secretary School of Mathematics The University of Manchester Manchester, M13 9PL, UK ISSN 1749-9097 An Exploration of ! Relation"ip Between Ma#ematics and Music MATH30000, 3rd Year Project Saloni Shah, ID 7177223 University of Manchester May 2010 Project Supervisor: Professor Roger Plymen ! 1 TABLE OF CONTENTS Preface! 3 1.0 Music and Mathematics: An Introduction to their Relationship! 6 2.0 Historical Connections Between Mathematics and Music! 9 2.1 Music Theorists and Mathematicians: Are they one in the same?! 9 2.2 Why are mathematicians so fascinated by music theory?! 15 3.0 The Mathematics of Music! 19 3.1 Pythagoras and the Theory of Music Intervals! 19 3.2 The Move Away From Pythagorean Scales! 29 3.3 Rameau Adds to the Discovery of Pythagoras! 32 3.4 Music and Fibonacci! 36 3.5 Circle of Fifths! 42 4.0 Messiaen: The Mathematics of his Musical Language! 45 4.1 Modes of Limited Transposition! 51 4.2 Non-retrogradable Rhythms! 58 5.0 Religious Symbolism and Mathematics in Music! 64 5.1 Numbers are God"s Tools! 65 5.2 Religious Symbolism and Numbers in Bach"s Music! 67 5.3 Messiaen"s Use of Mathematical Ideas to Convey Religious Ones! 73 6.0 Musical Mathematics: The Artistic Aspect of Mathematics! 76 6.1 Mathematics as Art! 78 6.2 Mathematical Periods! 81 6.3 Mathematics Periods vs. -
How to Read Music Notation in JUST 30 MINUTES! C D E F G a B C D E F G a B C D E F G a B C D E F G a B C D E F G a B C D E
The New School of American Music How to Read Music Notation IN JUST 30 MINUTES! C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E 1. MELODIES 2. THE PIANO KEYBOARD The first thing to learn about reading music A typical piano has 88 keys total (including all is that you can ignore most of the informa- white keys and black keys). Most electronic tion that’s written on the page. The only part keyboards and organ manuals have fewer. you really need to learn is called the “treble However, there are only twelve different clef.” This is the symbol for treble clef: notes—seven white and five black—on the keyboard. This twelve note pattern repeats several times up and down the piano keyboard. In our culture the white notes are named after the first seven letters of the alphabet: & A B C D E F G The bass clef You can learn to recognize all the notes by is for classical sight by looking at their patterns relative to the pianists only. It is totally useless for our black keys. Notice the black keys are arranged purposes. At least for now. ? in patterns of two and three. The piano universe tends to revolve around the C note which you The notes ( ) placed within the treble clef can identify as the white key found just to the represent the melody of the song. -
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. -
Level 1 Theory Book (1.65
Table of Contents Lesson Page Material 1.1 1 Introduction to Music Letter Names The Octave 1.2 7 The Staff The Treble Clef Treble Clef Note Names Treble Clef Ledger Lines 1.3 17 The Bass Clef Bass Clef Note Names Bass Clef Ledger Lines Middle C 1.4 25 Dynamics Tempo Produced by The Salvation Army Music and Gospel Arts Department 3rd Edition Copyright 2018 The Salvation Army Canada and Bermuda Territory 2 Overlea Blvd., Toronto ON M4H 1P4 Original Author: Jeremy Smith Contributors: Leah Antle, Mark Barter, Susan Lee, Mike McCourt, Heather Osmond Lesson 1.1 - Introduction to Music We all hear lots of sounds at any given moment. Listen to the various sounds going on around you right now! How would you describe them? Do they have a pattern? Are they organized? Do you think this is music? Music is organized sound. We can use music to tell other people about Jesus Christ. This can be done through the use of singing, brass, percussion, piano and guitar music —any instrument that will promote God’s glory! Letter Names There are seven letters of the music alphabet: A B C D E F G We use these as note names to classify what a note or pitch sounds like. Notes can ascend (go higher): Notes can descend (go lower): 1 Level 1 Only seven letters? There can’t be just seven sounds in the whole world! The letter names of notes can be repeated when you run out! EXERCISE Fill in the missing note names! E A D B E D G B E D G F B 2 Level 1 The Octave When we have moved from one A to another A, we have played an octave, a term used in music to describe the space between notes of the same letter name. -
Pnrpartnc to Pmy
PurnNC Youn EmcrruC Bnss TocETHER machine heads (tuning pegs) STIP 1 Open your case right side up. SITP 2 Connect the strap securely to the strap buttons. fingerboard SIEP 3 Adjust the strap so that the body of the bass rests at or above your waist. STEP 4 Plug the audio cable into your bass, and then plug the cable into your amplifier. STEP 5 Turn the amplifier on and adjust the volume. toneAolume controls output jack strap button PnrPARtNc To Pmy STEP 1 Sit or stand up straighg with your shoul- ders relaxed. STEP 2 When standing the strap should sup port the full weight of the bass. When sitting restthe curve of the bass on your right thigh, and the back of the bass against your body. STEP 3 Bend your right elbow and position your forearm and wrist over the front of the bass. Your hand should be positioned toward the ground, with your fingers curved toward the strings. PnnpnRrNC To PLqy STEP 4 Fi.rce yon.:i ieft hand thumb behinci the neck. Your thumb shouid not curlover the top of the neckonto thefingerboard. STEP 5 Bend vour left wrist to position your fingers over the fingerboard. Arch your tingers, keeping your palm clear of the neck. Your thumb and fingers should f'cim a "C" shape. r*t \".'l\ l/- t/,*i-r,.i '!--;i ,--''.I;i\jt*-! ,\ 5ir-riRIC *nsg sTtLl ?i.i<*e r.'i;,..ri" ri3ht hanci midr,vay benveen the bridge anC the end of the fingerboard. TTfig.? ,<esi i,c'-;; r!sht hanri tiiumb on the .iih string {! sti'ing}.