DOCSLIB.ORG

Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. G minor pentatonic 4. Major 7th Chords (play all) 6. G major pentatonic 7. C minor pentatonic 8. C major pentatonic grade 3 Group A Group B Group C Group D Scales (90 bpm) Arpeggios (90 bpm) Chords Acoustic Riff Candidates must play Candidates must play 1. Major and minor To be played to all five scale types listed, both arpeggio types barred chords backing track and from each of the listed, and from each of 2. Dominant 7th three starting notes G, the three starting notes chords (play all) A and B (15 in total) G, A and B (6 in total) Prepared on starting 1. Major arpeggio notes G, A and B. 2. Minor arpeggio 1. Major 2. Natural minor 3. Minor pentatonic 4. Major pentatonic 5. Blues Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 4 Group A Group B Group C Group D Scales (80 bpm) Arpeggios (80 bpm) Chords Acoustic Riff Candidates must play Candidates must play 1. Major and To be played to all five scale types listed, all arpeggio types listed, minor chords backing track and from each of the four and from each of the four 2. 7th chords starting notes A, Bb, B starting notes A, Bb, B and C (20 in total) and C (6 in total) Prepared on starting Prepared on starting notes A, Bb, B and C notes A, Bb, B and C on the E string. on the E string. Both fingerings should 1. Major 7th be represented. 2. Minor 7th 3. Dominant 7th 1. Major (both fingerings) 2. Natural minor (both fingerings) 3. Minor pentatonic (both fingerings) 4. Major pentatonic (both fingerings) 5. Blues (both fingerings) Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 5 Group A Group B Group C Group D Scales (80 bpm) Arpeggios (80 bpm) Chords (80 bpm) Acoustic Riff Candidates must play Candidates must play Major and minor triads To be played to all six scale types listed, both arpeggio types backing track and from each of the six listed, and from each starting notes (F, G, and of the six starting notes A on the E string and B, (F, G, and A on the E C and D on the A string) string and B, C and D on (36 in total) the A string) (36 in total) 1. Major 1. Major 2. Natural minor 2. Minor 3. Harmonic minor 4. Minor pentatonic 5. Major pentatonic 6. Blues Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates G6-8 Technical Exercise submission list Notes Playing along to metronome is compulsory for Group A-C. Exercises should commence after a 4-click metronome count in. Please make sure this is audible on the video recording. The candidate may choose one technical study to perform. GRADE 6 Group A Group B Group C Scales Modes Arpeggios Tempo: 100 bpm Tempo: 100 bpm Tempo: 100 bpm 1. F# minor pentatonic exercise Candidates must play both Candidates must play all arpeggios 2. F# major pentatonic exercise modes listed from each of the listed from each of the 10 starting 3. B minor pentatonic exercise 10 starting notes (G, G#/Ab, A, notes (G, G#/Ab, A, A#/Bb, B on the E 4. B major pentatonic exercise A#/Bb, B on the E string and C, string and C, C#/Db, D, D#/Eb and E C#/Db, D, D#/Eb and E on the A on the A string) (30 in total). string) (20 in total). 1. Major7 1. Dorian 2. Minor7 2. Mixolydian 3. Dominant7 Group D Group E Chord Voicings Technical Studies (played to backing track) Candidates must play both chords listed from each of the Candidates to perform one 10 starting notes (G, G#/Ab, A, technical study from the list A#/Bb, B on the E string and C, below: C#/Db, D, D#/Eb and E on the A string) (20 in total). Example 1 – Rock and Pop Example 2 – Blues and Country 1. Minor7b5 Example 3 – Acoustic Specialist 2. Diminished7 Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 7 Group A Group B Group C Group D Scales and Modes Arpeggios Chord Voicings Technical Studies Tempo: 100 bpm Tempo: 100 bpm (played to backing track) Candidates must play all Candidates must play all Candidates must play chords listed from each Candidates to perform scales/modes listed from all arpeggios listed from of the 10 starting notes one technical study from each of the 10 starting each of the 10 starting (G, G#/Ab, A, A#/Bb, B on the list below: notes (G, G#/Ab, A, A#/Bb, notes (G, G#/Ab, A, A#/Bb, the E string and C, C#/Db, B on the E string and C, B on the E string and C, D, D#/Eb and E on the A Example 1 – C#/Db, D, D#/Eb and E on C#/Db, D, D#/Eb and E on string) (30 in total). Rock and Pop the A string) (30 in total). the A string) (30 in total). Example 2 – 1. Major9 Blues and Country 1. Lydian 1. Major9 2. Minor9 Example 3 – 2. Phrygian 2. Minor9 3. Dominant9 Acoustic Specialist 3. Jazz melodic minor 3. Dominant9 Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 8 Group A Group B Group C Group D Scales Arpeggios Chord Voicings Technical Studies Tempo: 100 bpm Tempo: 100 bpm (played to backing track) Candidates must play all Candidates must play all Candidates must play chords listed Candidates to perform scales listed from each • The first three one of the 10 starting notes arpeggios listed • The first two chords technical study from the (G, G#/Ab, A, A#/Bb, B on starting on G, G#/Ab, starting on notes G, list below: the E string and C, C#/Db, A, on the E string, G#/Ab, A on the E D, D#/Eb and E on the A • The second three string. Example 1 – Rock and string) (30 in total). arpeggios listed • The second two Pop starting on A#/Bb, B chords starting on Example 2 – Blues and 1. Whole tone on the E string notes A#/Bb, B on Country 2. Diminished • The first three the E string. Example 3 – Acoustic 3. Altered arpeggios listed • The first two chords Specialist starting on C, C#/Db, starting on notes C, D on the A string C#/Db, D, on the A • The second three string. arpeggios listed • The second two starting on D#/Eb chords starting on and E on the A string) notes D#/Eb, E on (30 in total). the A string (20 in total). 1. Dominant7#5 arpeggio 1. Dominant7#5 2. Dominant7b5 2. Dominant7b5 arpeggio 3. Dominant7#9 3. Minor7b5 arpeggio 4. Dominant7b9 4. Dominant7#9 arpeggio 5. Dominant7b9 arpeggio 6. Diminished arpeggio.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Unicode Technical Note: Byzantine Musical Notation
    1 Unicode Technical Note: Byzantine Musical Notation Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is.1 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),2 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use.
    [Show full text]
  • 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.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt.
    [Show full text]
  • Generalized Interval System and Its Applications
    Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist.
    [Show full text]
  • |What to Expect from L'elisir D'amore
    | WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love.
    [Show full text]
  • Music Content Analysis : Key, Chord and Rhythm Tracking In
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work.
    [Show full text]
  • PDF of Handouts (Part 2
    Christof Weiß Ringvorlesung TechTalk . Physics Diploma Philosophische Fakultät, FAU, WS 2019/20 Universität Würzburg . Composition Neue Wege für die Musikforschung mittels HfM Würzburg Digitaler Signalverarbeitung . Ph. D. in Media Technology Fraunhofer IDMT, Ilmenau Christof Weiß, Meinard Müller . Postdoc in Music Processing & Composer International Audio Laboratories Erlangen [email protected], [email protected] AudioLabs / Erlangen-Nürnberg University . 2018: KlarText award for science communication 2 Harmony Analysis Harmony Analysis . Different concepts . Different concepts . Concepts relate to different temporal granularity . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Chord level CM GM7 Am Chords Chord recognition Melody Melody Note level Middle voices Music transcription Note level Middle voices Music transcription Bass line Bass line 3 4 Harmony Analysis Harmony Analysis . The Beatles, Let it be – Chords . Different concepts . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Melody Note level Middle voices Music transcription Source: www.ultimate-guitar.com Bass line 5 6 Harmony Analysis: Local Keys Harmony Analysis: Local Keys . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” (St. John’s Passion) – Local keys (St. John’s Passion) – Local keys E maj B maj E maj B maj E maj B maj E maj Modulation E maj .
    [Show full text]
  • Closing Report of Chairman Edward D. Re
    Closing Report of Chairman Edward D. Re The Chairman's message in the Bulletin of December 1965 stressed the need for effective leadership in the increasingly intricate and complex areas of international law and comparative law. During the past two years, the Section of International and Comparative Law has attempted to assert such leadership. It has sought to accomplish this task by attracting new members to the Section, streamlining its divisions and committees, improving Section publications, initiating seminars and institutes to inform lawyers about current problems in international law, and by presenting to the American Bar Association the Section's recommendations on significant questions of international relations. At its annual and spring meetings and at various interna- tional and national conferences, the Section has presented discussions in depth on topics of interest to all members of the legal profession. This Report will present a summary of Section activities from 1965 to 1967. A detailed report on the 1967 Annual Meeting in Hawaii will be found under the heading "Meetings and Conferences." The Section's first Institute, held in New Orleans on September 29-30, 1967, is discussed under the heading "Section Seminars." Organization An active Section requires active committes. In 1965, scope and objective reports sought from all committee chairman and were to be distributed to all members to enable them to make an informed choice of committee assignments. The first issue of The International Lawyer contained a list of Section committees (p. 157) together with a form by which lawyers could join the Section and could indicate committee preferences (p.
    [Show full text]
  • Ecoaccess Guideline for the Assessment of Low Frequency Noise
    ECOACCESS GUIDELINE FOR THE ASSESSMENT OF LOW FREQUENCY NOISE Cedric Roberts Environmental Operations, Integrated Assessment, Queensland Environmental Protection Agency, 160 Ann Street, Brisbane, Queensland, Australia 4002 Abstract As a result of the escalation in low frequency noise sources appearing in new industrial development and the incidence of low frequency noise complaints experienced by residents in Queensland, a low frequency noise guideline has been developed by the Environmental Protection Agency. The Guideline is applicable to low frequency noise emitted from industrial premises, commercial premises and mining operations (not blasting), and is intended for planning purposes as well as for the evaluation of existing problems. The intent of the established criteria is to accurately assess annoyance and discomfort to persons at noise sensitive premises caused by low frequency noise with a frequency range from 10 Hz to 200 Hz. The technical paper will describe the main elements of this guideline including: use of the G-weighting function to determine annoyance due to infrasound in the frequency range from 1 Hz to 20Hz and low frequency noise criterion adopted for initial screening inside home environments in terms of Linear, A-weighted and one-third octave band sound pressure levels in the range 20 to 200 Hz. Initially auditory perception is established by comparing one-third octave band frequency sound with the ISO median hearing threshold levels (HTLs) for the best 10% of the aged population (55-60 years old) followed by separate noise criteria applied to establish annoyance from tonal and non-tonal noise. Two examples of the application of the guideline to infrasonic noise and non-tonal noise from industrial equipment are given in the paper.
    [Show full text]
  • Introduction to Braille Music Transcription
    Introduction to Braille Music Transcription Mary Turner De Garmo Second Edition Revised and edited by Lawrence R. Smith Music Braille Transcriber Bettye Krolick Music Braille Consultant Beverly McKenney Music Braille Transcriber Sandra Kelly Music Braille Advisor Volume I National Library Service for the Blind and Physically Handicapped The Library of Congress Washington, DC 2005 Contents VOLUME I Foreword to the 1974 Edition . xi Preface to the 2005 Edition . xii Acknowledgments . xiii How to Use This Book . xiv Related Resources . xiv Overall Plan . xiv References to MBC-97 . xiv Using Computer Assistance . xv Taking the Course . xv References . xvi PART ONE: Basic Procedures and Transcribing Single-Staff Music 1 Formation of the Braille Note . 1 2 Eighth Notes, the Eighth Rest, and Other Basic Signs . 3 General Procedures . 4 Examples for Practice . 4 Procedures Specific to This Book . 7 Drills for Chapter 2 . 7 Exercises for Chapter 2 . 9 3 Quarter Notes, the Quarter Rest, and the Dot . 11 Examples for Practice . 11 Proofreading . 13 Drills for Chapter 3 . 13 Exercises for Chapter 3 . 15 4 Half Notes, the Half Rest, and the Tie . 17 Drills for Chapter 4 . 19 Exercises for Chapter 4 . 20 5 Whole and Double Whole Notes and Rests, Measure Rests, and Transcriber-Added Signs . 23 Various Print Methods for Showing Consecutive Measure Rests . 26 Reading Drill . 28 Drills for Chapter 5 . 30 Exercises for Chapter 5 . 31 6 Accidentals . 33 Directions for Brailling Accidentals . 33 Examples for Practice . 34 Drills for Chapter 6 . 35 i Exercises for Chapter 6 . 37 7 Octave Marks . 39 The Seven Octave Marks .
    [Show full text]