1 Tablature, Or Guitar Tabs, Is the Most Common Form of Written Music For
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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. -
Silent Music
Trinity University Digital Commons @ Trinity Philosophy Faculty Research Philosophy Department Fall 2010 Silent Music Andrew Kania Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/phil_faculty Part of the Philosophy Commons Repository Citation Kania, A. (2010). Silent music. The Journal of Aesthetics and Art Criticism, 68(4), 343-353. doi:10.1111/ j.1540-6245.2010.01429.x This Post-Print is brought to you for free and open access by the Philosophy Department at Digital Commons @ Trinity. It has been accepted for inclusion in Philosophy Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Silent Music Andrew Kania [This is the peer reviewed version of the following article: Andrew Kania, “Silent Music” Journal of Aesthetics and Art Criticism 68 (2010): 343-53, which has been published in final form at http://onlinelibrary.wiley.com/doi/10.1111/j.1540- 6245.2010.01429.x/abstract. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving. Please cite only the published version.] Abstract In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical sound art, rather than simply a piece of theatre, as Stephen Davies has argued. -
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 .............................................................. -
Fairfield Public Schools Music Department Curriculum Orchestra Skill Levels
Fairfield Public Schools Music Department Curriculum Orchestra Skill Levels ORCHESTRA SKILL LEVEL I (Grade 4) A. Executive Skills 1. Exhibits proper posture and playing position 2. Exhibits proper rehearsal and performance procedures in ensemble playing 3. Understands effective practice habits 4. Demonstrates proper care and safety of instrument 5. Demonstrates proper right hand position 6. Demonstrates proper left hand position 7. Identifies parts of the instrument B. Tone Quality Students should: 1. Draw a straight bow 2. Demonstrate proper contact point between bridge and fingerboard 3. Demonstrate even bow speed 4. Produce a characteristic sound on the instrument 5. Use appropriate articulation techniques. 6. Play dynamics C. Bowing Demonstrates the following bow strokes and articulations: 1. Detache (legato) 2. Staccato 3. Two-note slur, three-note slurs and ties 4. Bow lifts 5. Right hand pizzicato 6. Left hand pizzicato 7. Imitate bowing patterns D. RHythms and Note Reading Read and play music which includes the following: 1. Rhythms using quarter, half, dotted half, whole, pair of eighth notes and corresponding rests 2. Demonstrate the ability to recognize and perform various rhythm patterns. 3. Read music in the following Time Signatures: 2/4, 3/4, 4/4 4. Identify and Perform symbols and terms: Half note, Clef, Time signature, Bar line, Repeat sign, Up bow, Down bow, Whole note, Staff, Quarter note, Eighth notes, Key signature, Quarter rest, Half rest, Whole rest, Dotted half note, Bow lift, Measure, Tie, Slur, Plucking and Bowing E. Scales and Scale Patterns 1. Scales Violin Viola Cello Bass G MA 1 octave 1 octave 1 octave 1 octave D MA 1 octave 1 octave 1 octave 1 octave I, (II & III Positions I I I on G string) F. -
Notes, Rhythm, and Meter Notes
Dr. Barbara Murphy University of Tennessee School of Music NOTES, RHYTHM, AND METER NOTES: Notes represent a duration or length of a sound. Notes consist of the head the stem and the flag or beam. note = head + stem + flag NOTE HEADS: The head of the note should be written as an oval (not a round circle) and should be centered on the line or space of the staff that represents the note. STEMS: Stems are notated on the right side of the note head and are ascending if the note head is on the 3rd line of the staff or below that line. Stems are notated on the left side of the note head and are descending if the note is on the 3rd line of the staff or above that line. Stems should be about 1 octave in length and should be straight up and down (not slanted). FLAGS: Flags are notated to the right of the stem whether the stem is on the right or left side of the note head. BEAMS: Notes should be beamed together to show the beat. Beams should therefore not cross beats. Beams should be straight lines, not curves. Beams may be slanted ascending or descending according to the contour of the notes. Beaming notes together may result in shortened or elongated stems on some notes. If beaming eighth notes and sixteenth notes together, sixteenth note beams should always go inside the beginning and ending stems. DURATIONS: Notes can have various durations and various names: American British (older version) double-whole breve whole semi-breve half minim quarter crotchet eighth quaver sixteenth semi-quaver thirty-second demi-semi-quaver sixty-fourth hemi-demi-semi-quaver These notes look like the following: double whole half quarter 8th 16th 32nd 64th whole In the above list, each note duration is one-half the duration of the preceding note duration. -
Musixtex Using TEX to Write Polyphonic Or Instrumental Music Version T.111 – April 1, 2003
c MusiXTEX Using TEX to write polyphonic or instrumental music Version T.111 – April 1, 2003 Daniel Taupin Laboratoire de Physique des Solides (associ´eau CNRS) bˆatiment 510, Centre Universitaire, F-91405 ORSAY Cedex E-mail : [email protected] Ross Mitchell CSIRO Division of Atmospheric Research, Private Bag No.1, Mordialloc, Victoria 3195, Australia Andreas Egler‡ (Ruhr–Uni–Bochum) Ursulastr. 32 D-44793 Bochum ‡ For personal reasons, Andreas Egler decided to retire from authorship of this work. Never- therless, he has done an important work about that, and I decided to keep his name on this first page. D. Taupin Although one of the authors contested that point once the common work had begun, MusiXTEX may be freely copied, duplicated and used in conformance to the GNU General Public License (Version 2, 1991, see included file copying)1 . You may take it or parts of it to include in other packages, but no packages called MusiXTEX without specific suffix may be distributed under the name MusiXTEX if different from the original distribution (except obvious bug corrections). Adaptations for specific implementations (e.g. fonts) should be provided as separate additional TeX or LaTeX files which override original definition. 1Thanks to Free Software Foundation for advising us. See http://www.gnu.org Contents 1 What is MusiXTEX ? 6 1.1 MusiXTEX principal features . 7 1.1.1 Music typesetting is two-dimensional . 7 1.1.2 The spacing of the notes . 8 1.1.3 Music tokens, rather than a ready-made generator . 9 1.1.4 Beams . 9 1.1.5 Setting anything on the score . -
Tablature for Lute, Cittern, and Bandora
1 ------------------------------------------------------------ Decoding Tablature Using Conversion Charts: ------------------------------------------------------------ Lute Tabs: Renaissance lute tabs came in a bewildering array, and practically each separate practitioner used a different system. They mostly amounted to three variants, all called "French" or "Italian". (The German system is really different, I won't go into it here, and the Spanish is really more of a precursor to the French and Italian.) Terminology Definitions as I use them: Tuning: The notes to which you tune the open strings of your lute. French open tuning=G −1 ,C 0 ,F 0 ,A 0 ,D 1 ,G 1 Italian open tuning=A −1 ,D 0 ,G 0 ,B 0 ,E 1 ,A 1 (Low to High strings.) Italian tuning would effectively just transpose the piece of music up one whole step. This matters when playing with others, otherwise, not so much. Instruments usually were tuned to themselves. Tab: High strings represented by top lines (French) or bottom lines (Italian) in tablature. Method: Numbers (Italian) or Letters (French). Any given writer could (and did) choose French or Italian for any of the three items above, declare that he was right, and the rest of the world was wrong, and prove it by using his variant. Thus, decisions of 2 possibilities for three items, 2 to the power three is eight possible charts. (See charts file. Eight charts for lute. I only did two for the cittern and one for bandora, but they, too, have 8 possible charts each.) An example of French tuning, tab, and method may be found in "Fond Wanton Youths", by Robert Jones, the "Nevv Booke of Tabliture," by William Barley, or Dowland's "First Book of Ayres." In the below charts: the top row is the letter on the staff lines in the tablature. -
4Th Grade Music Vocabulary
4th Grade Music Vocabulary 1st Trimester: Rhythm Beat: the steady pulse in music. Note: a symbol used to indicate a musical tone and designated period of time. Whole Note: note that lasts four beats w Half Note: note that lasts two beats 1/2 of a whole note) h h ( Quarter Note: note that lasts one beat 1/4 of a whole note) qq ( Eighth Note: note that lasts half a beat 1/8 of a whole note) e e( A pair of eighth notes equals one beat ry ry Sixteenth Note: note that lasts one fourth of a beat - 1/16 of a whole note) s s ( A group of 4 sixteenth notes equals one beat dffg Rest: a symbol that is used to mark silence for a specific amount of time. Each note has a rest that corresponds to its name and how long it lasts: Q = 1 = q = 2 = h = 4 = w H W Rhythm: patterns of long and short sounds and silences. 2nd Trimester: Melody/Expressive Elements and Symbols Dynamics: the loudness and quietness of sound. Pianissimo (pp): very quiet or very soft. Piano (p ): quiet or soft. Mezzo Piano (mp): medium soft Mezzo Forte (mf): medium loud Forte (f ): loud/strong. Fortissimo (ff): very loud/strong Crescendo (cresc. <): indicates that the music should gradually get louder. Decrescendo (decresc. >): indicates that the music should gradually get quieter. Tempo: the pace or speed of the music Largo: very slow. Andante: walking speed Moderato: moderately, medium speed Allegro: quickly,fast Presto: very fast Melody: organized pitches and rhythm that make up a tune or song. -
1 an Important Component of Music Is the Rhythm, Or Duration of The
1 An important component of music is the rhythm, or duration of the sounds. We designate this with whole notes, half notes, quarter notes, eighth notes, etc., the names of which indicate the relative duration of notes (e.g., a half note lasts four times as long as an eighth note). ∼ 3 4 It isd of d courset t necessary to specify the actual (not just relative) duration of sounds. There are several ways to do this, we shall discuss two which reflect the manner in which music is displayed. Printed music groups notes into measures, and begins each line with a time signature which looks like a fraction, and specifies the number of notes in each measure. For example, the time signature 3/4 specifies that each measure contains three quarter notes (or six eighth notes, or a half note and a quarter note, or any collection of notes of equal total duration). (The above schematic is not divided into measures; a whole note would not fit within a measure in 3/4 time.) Indeed, you cannot tell from looking just at a measure whether the time signature is 3/4 or 6/8, but both the top and bottom of the time signature are important for specifying the nature of the rhythm. The top number specifies how many beats (or fundamental time units) there are in a measure, and the bottom number specifies which note represents the fundamental time unit. For example, 3/4 time specifies three beats to a measure with a quarter note representing one beat, 6/8 time specifies six beats to a measure with an eighth note representing one beat. -
Robotaba Guitar Tablature Transcription Framework
ROBOTABA GUITAR TABLATURE TRANSCRIPTION FRAMEWORK Gregory Burlet and Ichiro Fujinaga Centre for Interdisciplinary Research in Music Media and Technology McGill University, Montreal,´ Quebec,´ Canada [email protected], [email protected] ABSTRACT This paper presents Robotaba, a web-based guitar tabla- ture transcription framework. The framework facilitates the creation of web applications in which polyphonic tran- scription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, and Figure 1. Tablature notation depicting six different string consists of an existing polyphonic transcription algorithm and fret combinations to perform the note E4 on a 24-fret and a new guitar tablature arrangement algorithm. The re- guitar in standard tuning. sult is a unified system that is capable of transcribing gui- tar tablature from a digital audio recording and display- transcription process, the guitar can produce the same note ing the resulting tablature in the web browser. Addition- in several ways. For example, there exists six string and ally, two ground-truth datasets for polyphonic transcrip- fret combinations that can produce the note E4 on a 24-fret tion and guitar tablature arrangement are compiled from guitar in standard tuning (Figure 1). manual transcriptions gathered from the tablature website While several polyphonic transcription and guitar tab- ultimate-guitar.com. The implemented transcription lature arrangement algorithms have been proposed in the web application is evaluated on the compiled ground-truth literature, no frameworks have been developed to facilitate datasets using several metrics. the combination of these algorithms to produce an auto- matic guitar tablature transcription system. Moreover, af- 1. -
Guitar Pro 7 User Guide 1/ Introduction 2/ Getting Started
Guitar Pro 7 User Guide 1/ Introduction 2/ Getting started 2/1/ Installation 2/2/ Overview 2/3/ New features 2/4/ Understanding notation 2/5/ Technical support 3/ Use Guitar Pro 7 3/A/1/ Writing a score 3/A/2/ Tracks in Guitar Pro 7 3/A/3/ Bars in Guitar Pro 7 3/A/4/ Adding notes to your score. 3/A/5/ Insert invents 3/A/6/ Adding symbols 3/A/7/ Add lyrics 3/A/8/ Adding sections 3/A/9/ Cut, copy and paste options 3/A/10/ Using wizards 3/A/11/ Guitar Pro 7 Stylesheet 3/A/12/ Drums and percussions 3/B/ Work with a score 3/B/1/ Finding Guitar Pro files 3/B/2/ Navigating around the score 3/B/3/ Display settings. 3/B/4/ Audio settings 3/B/5/ Playback options 3/B/6/ Printing 3/B/7/ Files and tabs import 4/ Tools 4/1/ Chord diagrams 4/2/ Scales 4/3/ Virtual instruments 4/4/ Polyphonic tuner 4/5/ Metronome 4/6/ MIDI capture 4/7/ Line In 4/8 File protection 5/ mySongBook 1/ Introduction Welcome! You just purchased Guitar Pro 7, congratulations and welcome to the Guitar Pro family! Guitar Pro is back with its best version yet. Faster, stronger and modernised, Guitar Pro 7 offers you many new features. Whether you are a longtime Guitar Pro user or a new user you will find all the necessary information in this user guide to make the best out of Guitar Pro 7. 2/ Getting started 2/1/ Installation 2/1/1 MINIMUM SYSTEM REQUIREMENTS macOS X 10.10 / Windows 7 (32 or 64-Bit) Dual-core CPU with 4 GB RAM 2 GB of free HD space 960x720 display OS-compatible audio hardware DVD-ROM drive or internet connection required to download the software 2/1/2/ Installation on Windows Installation from the Guitar Pro website: You can easily download Guitar Pro 7 from our website via this link: https://www.guitar-pro.com/en/index.php?pg=download Once the trial version downloaded, upgrade it to the full version by entering your licence number into your activation window. -
Book Two Sample
BOOK TWO BOOK TWO JB’s modern notation method for Guitar $19.99 ISBN 978-1-7336076-1-2 51999 9781733607612 BOOK TWO table of contents Introduction • Tuning The Guitar 3-4 • Four Finger Tips 4 Chapter 11) • Triplets 5 • C♯ on the A-String and B-String 6 • E♭ on the D-String and B-String 6 Chapter 12) • Time Signatures 10 • 6/8 Time Signature 11 Chapter 13) • Sixteenth Notes 14 • Counting Sixteenth Notes and Rests 15 • Clapping Exercises (First Set) 16 Chapter 14) • More Sixteenth Note Goodness 19 • Clapping Exercises (Second Set) 20 Chapter 15) • G♯ on the Low E-String, G-String, and High E-String 22 • A♭ on the Low E-String, G-String, and High E-String 23 Chapter 16) • D♯ on the D-String, and B-String 26 • D♭ on the A-String, and B-String 26 • Syncopation 27 Chapter 17) • Performance Marks; Tempo 32 • Dynamic 34 • Endings; Articulation & Expression 36 • Place Markers 38 Chapter 18) • Position Playing On The Board 40 • A♯ and G♭ ALL OVER THE BOARD 41 • Revisiting “Old Friends” 43-45 Chapter 19) • E♯ and C♭ Introduced 45 • Odd Time Signatures 46 • Cut-Time (2/2 Time Signature) 49 Chapter 20) • B♯ and F♭ Introduced 52 • More On Triplets 54 Appendix • Lead Sheets 59 • Chord Diagrams 60-62 1 Keep These Points In Mind: • For all of us, most keys we read are not in C Major. And thankfully, not in C# or C♭, as well. • Push and challenge yourself to be very accustomed to keys other than C Major.