Power Tab Editor ❍ Appendix B - FAQ - a Collection of Frequently Asked Questions About the Power Tab Editor

Total Page:16

File Type:pdf, Size:1020Kb

Power Tab Editor ❍ Appendix B - FAQ - a Collection of Frequently Asked Questions About the Power Tab Editor Help Topics ● Introduction - Program overview and requirements ● What's New? - Program Version history; what was fixed and/or added in each version of the program ● Quick Steps To Creating A New Score - A simple guide to creating a Power Tab Score ● Getting Started ❍ Toolbars - Information on showing/hiding toolbars ❍ Creating A New Power Tab File - Information on how to create a new file ❍ The Score Layout - Describes how each Power Tab Score is laid out ❍ Navigating In Power Tab - Lists the different ways that you can traverse through a Power Tab score. ❍ The Status Bar - Description of what each pane signifies in the status bar. ● Sections and Staves ❍ What Is A Section? - Information on the core component used to construct Power Tab songs ❍ Adding A New Section - Information on how to add a new section to the score ❍ Attaching A Staff To A Section - Describes how attach a staff to a section so multiple guitar parts can be transcribed at the same time ❍ Changing The Number Of Tablature Lines On A Staff - Describes how to change the number of tablature staff lines on an existing staff ❍ Inserting A New Section - Describes how to insert a section within the score (as opposed to adding a section to the end of a score) ❍ Removing A Section Or Staff - Describes how to remove a section or staff from the score ❍ Position Width and Line Height - Describes how to change the width between positions and the distance between lines on the tablature staves ❍ Fills - Not implemented yet ● Song Properties ❍ File Information - How to edit the score title, transcriber and copyright information ❍ Performance Notes - How to enter instructions to be used by the reader of the score ❍ Lyrics - Not implemented yet ❍ Fonts - Information on how to change the fonts used by the score in the program ● Guitars ❍ Guitar Setup - How to add guitars to the score and set their attributes ❍ Guitar Ins - Describes how to use Gtr In symbols in the score in order to activate guitars to be used in the song ● Music Symbols ❍ Alteration Of Pace ❍ Dyanmics ❍ Key Signatures ❍ Music Bars ❍ Musical Directions ❍ Rehearsal Signs ❍ Repeat Endings ❍ Song Fade In/Out ❍ Tempo Markers ❍ Time Signatures ❍ Volume Swells ● Tablature Symbols ❍ Arpeggios ❍ Bends ❍ Hammer-Ons And Pull-Offs ❍ Harmonics ❍ Palm Mute ❍ Pickstrokes ❍ Slides ❍ Tap ❍ Tremolo Bar ❍ Tremolo Picking ❍ Trill ❍ Vibrato ● Rhythm Slashes ❍ Working With Rhythm Slashes - Describes what rhythm slashes are, and how to use them ❍ The Chord Diagram List - How to add/edit/remove chord diagrams in the score ● Text ❍ Chord Name Text - Information on how to construct and insert chord names into the score ❍ 'Floating' Text - Describes how to insert general text into the score ❍ Special Text - Time Stamps and Italian Music Terms ● Manipulating Data ❍ Editing Data - Describes how to edit existing data in the score ❍ Removing Data - Describes the different ways to remove data in the score ❍ Triplets And Irregular Groupings - Describes how to apply a triplet or irregular grouping to a group of notes ● MIDI Playback ❍ MIDI Setup - Information on setting up MIDI output devices using for playback ● Importing Data ❍ Importing MIDI Tracks - Describes how to import MIDI Tracks into a Power Tab Score ● Exporting Data ❍ Exporting To ASCII Text - Describes how to export the score to ASCII Text ❍ Exporting To HTML - Describes how to export the score to HTML ❍ Exporting To MIDI - Describes how to export the score to MIDI ❍ Outputing Sections To Bitmaps - Describes how to output a section in the score to bitmap (.bmp) file format (either to file or to the clipboard) ● Options ❍ General Options - Autosave and Autoload options ❍ Printing Options - Options to print Performance Notes, Copyright, etc. ❍ Chord Name Suffix Display Options - Used to set how chord names will be displayed in the score ● Tools ❍ The Chord Dictionary - Stores fingers for a plethora of chord names ❍ The Tuning Dictionary - Stores a list of user defined tunings ❍ The Score Checker - Used to check the active score for several types of common errors ❍ The Chord Identification Tool - Used to identify the chord name of the chord at the current position ❍ The Recovery Tool - Used to reload an autosaved file ❍ The Replacement Tool - Replaces note patterns found in the score with other note patterns ❍ The Rhythm Slash Converter - Used to convert tablature data to rhythm slash data ❍ The Shifter Tool - Tool that can shift tablature data (fret numbers) to and from different strings and frets ❍ The Tonality Tool - Used to help determine the key signature of the song ❍ The ASCII Tablature File Fixer - Used to make unreadable ASCII Tablature files downloaded off the internet readable again ❍ Customizing The Tools Menu - Information on how to add your own tools to the tools menu ● Appendices ❍ Appendix A - Keyboard Map - List of keyboard shortcuts used to execute common commands in the Power Tab Editor ❍ Appendix B - FAQ - A collection of frequently asked questions about the Power Tab Editor ❍ Appendix C - Power Tab On The Web - List of Power Tab related web sites © 2000 Brad Larsen. All rights reserved. Terms of use. Introduction Overview The Power Tab Editor is a tablature authoring tool for Windows 95/98. It allows for the creation of music scores in both standard and tablature notation that can be printed out and played back via MIDI. Requirements ● Microsoft® Windows 9x, NT 4.0, 2000 * ● Microsoft® Common Controls version 4.70 or greater ● Microsoft® Internet Explorer 3.0 or higher ** ● Microsoft® HTML Help files ** ● Adobe Acrobat Reader 3.0 or higher *** ● Pentium 166 Mhz or greater **** ● 32MB RAM **** * The program has not been throughly tested on any version of Microsoft® NT/2000. I do not have access to these products so I have no way to verify program runnability at present time. Several users have reported that it works fine on these products. ** These components are needed to view the Power Tab Editor .chm help file. If you're using Windows 98 or higher, you have all the necessary files to open the help file. The latest common controls can be downloaded here. (50comupd.exe). *** This component is required to view the Power Tab Editor .pdf help file. The reader is freeware and can be found at www.adobe.com **** The CPU and RAM requirements were the setup used on the computer that the program was built on. The program has not been tested on a setup with lower values than these, it does not mean that the program will not run on these machines. © 2000 Brad Larsen. All rights reserved. Terms of use. What's New? Version History ● Version 1.7 - August 30, 2000 ❍ Additions ■ New Open Dialog - Displays information about a Power Tab file without having to open it ■ Page Setup implemented - Allows changing of paper size within the program. Currently does not save paper size though. (must be reset each time program runs) ■ Mousewheel functionality implemented - Mousewheels can be used to jump from section to section ■ Adobe Acrobat Help File (.pdf) - You no longer need to have IE 4/5 installed to view help ❍ Updates ■ Song Attributes changed to File Information - The information now differentiates between songs and lessons. ❍ Fixes ■ Autosave Feature bug fixed - Autosave was not updating itself properly after changing the autosave time. ■ Save bug fixed - Program was asking to save file, when nothing had changed in file. ■ Printing bug fixed - Program was not printing properly on non 8.5 x 11in paper. ■ Tremolo bar bug fixed - The 4 step dip was incorrectly displayed as 3 in the tremolo bar dialog box ■ Rehearsal Sign/Music Bar bug fixed - When updating a music bar that had a rehearsal sign at the same position, the alignment would go out of wack. ● Version 1.5 - May 22, 2000 ❍ Additions ■ Several new hot keys added for accessing common features ■ Alteration of Pace functionality implemented. This allows for gradual tempo changes to occur. ■ Added Copy Special Position. (Edit Menu -> Copy Special -> Copy Position) This copies the current position to the clipboard ■ Music Bar hot spot added (music staff only) - It is now possible to edit a music bar by clicking on the music bar in the music staff ■ Double sharps and flats are now used when necessary on the music notation staves ■ Sections can now be exported to bitmap format (either to clipboard or to file) ■ Octave signs implemented (8va, 15ma, 8vb and 15mb) ■ Added 2 Tab Notation Options, display "Full" or "1" for both bends/tremolo bars ■ "Not Released" added to list of Released On types in Song Attributes ■ Song Fade In/Out implemented ■ Added Play From Beginning MIDI button. This plays the score from the start, regardless of where the active position is ■ Updates ■ Music bar automatically stored at the start of every section ■ Autosave now saves the last ten files instead of just the last five ■ Music notation now uses chord names (combined with the key signature) to determine the proper accidental to display ■ Upgraded bends with the ability to control vertical drawing placement ■ Tempo markers updated to includes listessos and more triplet feel types ■ Redesigned how Time signatures are stored. They also now have a Pulses value to determine how metronome clicks during playback ■ Chord Name class upgraded. Allows for N.C. + Brackets as well as B#, Fb, E#, Cb ■ Dynamic support added for rhythm slashes ■ Anacrusis' (Incomplete bars at start of score) are now allowed ■ Changed how Let Ring was implemented during playback. In old version, was using hold pedal data, but replaced that scheme with "let ring ties"; this holds the note until let ring is over, or next note on same line is hit ■ Playback completely dependant upon Gtr. Ins now. If Gtr. Ins aren't properly placed, no music will play back ■ Artificial Harmonics now capable of displaying double sharps/flats in pitch name ■ Artificial Harmonic pitch accidentals are now drawn using Power Tab font ■ Copyright now prints at bottom of first page of printer output ■ Muted notes and Time Signature numbers are now drawn using Power Tab font ■ Trilling and tremolo picking now use a ratio based on the current tempo to calculate the note durations during playback.
Recommended publications
  • Img/Pictorexl09 1321 Sesion6 Pdf (Diseño De
    SIBIUP Biblioteca mt Sirilon Bolivar 11111111111 11111111111 00066436 UNIVERSIDAD DE PANAMA VICERRECTORRLA DE INVESTIGACION Y POSTGRADO FACULTAD DE BELLAS ARTES LA MUSICA A TRAVES DE SOFTWARE ESPECIALIZADOS SU DESARROLLO Y PROYECCION EN CESAR A MENA TESIS PRESENTADAPARA OPTAR AL GRADO DE MAESTRIA EN MUSICA PANAMA REPUBLICA DE PANAMA 2013 k IQ DEDICATORIA A mi querida madre Yolanda y a mi hermanita Saddy 1'! A Dios Todopoderoso y a la Virgen María por guiarme e iluminarme siempre. Agradezco muy especialmente a mi madre por su interés, apoyo incondicional, su amor y comprensión. A mi hermana por su apoyo incondicional, su tiempo y sabios consejos. Al Magíster Carmelo Moyano por el asesoramiento en este proyecto. A los Magísteres: Alex Mariscal, Cecilia Escalante, Moisés Guevara, Elcio De Sá, Pedro Quintero y Alexis Nioreno, a todos Eternamente agradecido u' 11 INDICE GENERAL Contenido ÍNDICE DE IMAGENES y RESUMEN 1 SUMMARY 2 ENTRODUCCION 3 CAPITULO 1 4 PLANTEAMIENTO DEL PROBLEMA 5 DEFINICIÓN DEL PROBLEMA 6 HIPÓTESIS DE TRABAJO 7 OBJETIVOS 9 OBJETIVO GENERAL 9 OBJETIVOS ESPECIFICOS 9 JUSTIFICACIÓN lo DELIMITACIÓN DE LA INVESTIGACIÓN II CAPITULO 2 12 FUNDAMENTACIÓN TEÓRICA 13 ANTECEDENTES 13 MARCO TEORJCO 16 DEFÍNICION DE SOFTWARE 16 TIPOS DE SOFTWARE 17 SOFTWARE MUSICAL 17 LA MUSICA Y LA TECNOLOGIA INFORMÁTICA 21 DESARROLLO HISTÓRICO DE LOS DIFERENTES SOFTWARES ESPECIALIZADOS EN MUSICA Y SU EVOLUCION A TRAVES DEL TIEMPO 24 EDITORES DE PARTITURA 25 SECUENCIADORES 37 111 EDITORES DE AUDIO 42 ACTUALIDAD EN PANAMA 46 CAPITULO 3 52 ASPECTOS METODOLÓGICOS
    [Show full text]
  • 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.
    [Show full text]
  • 7Th GRADE ORCHESTRA 7Th Grade Orchestra Is Offered to All Students Who Have Completed Fairfield Orchestra Skill Level III
    7th GRADE ORCHESTRA 7th grade Orchestra is offered to all students who have completed Fairfield Orchestra Skill Level III. Instruction emphasizes instrumental techniques, ensemble rehearsal and performance techniques, and music reading. All orchestra students will receive a small group homogenous lesson once each week. Lessons will take place during the school day on a rotating pull-out basis with the orchestra director or FPS music teacher specializing in orchestra. Recommended lesson size is no more than 6 students. Homework for this class includes regular, consistent practice on assigned lesson and ensemble music. Participation in the Winter and Spring evening curricular concerts is expected and integral for successful completion of this class. 7th grade orchestra is a full year class that meets three times per week. Students electing Orchestra/Chorus will rehearse once per week in Chorus, and twice per week with an Orchestra class. Course Overview All students in the Fairfield Orchestra Program progress Course Goals Artistic Processes through an Ensemble Sequence and instrument specific Students will have the ability to understand • Create Skill Levels. and engage with music in a number of • Perform different ways, including the creative, • Respond Fairfield’s Orchestra Program Ensemble Sequence responsive and performative artistic • Connect processes. They will have the ability to Grade/Course Instrument Ensemble Sequence perform music in a manner that illustrates Anchor Standards Skill Level Marker careful preparation and reflects an • Select, analyze, and 4th Grade Novice understanding and interpretation of the I interpret artistic work for Orchestra selection. They will be musically literate. presentation. 5th Grade Novice II • Develop and refine artistic Orchestra Students will be artistically literate: they will techniques and work for th 6 Grade Intermediate have the knowledge and understanding presentation.
    [Show full text]
  • Wilson Area School District Planned Course Guide
    Board Approved April 2018 Wilson Area School District Planned Course Guide Title of planned course: Music Theory ​ Subject Area: Music ​ Grade Level: 9-12 ​ ​ Course Description: Students in Music Theory will learn the basics and fundamentals of musical ​ notation, rhythmic notation, melodic dictation, and harmonic structure found in Western music. Students will also learn, work on, and develop aural skills in respect to hearing and notating simple melodies, intervals, and chords. Students will also learn how to analyze a piece of music using Roman numeral analysis. Students will be expected to complete homework outside of class and will be graded via tests, quizzes, and projects. Time/Credit for this Course: 3 days a week / 0.6 credit ​ Curriculum Writing Committee: Jonathan Freidhoff and Melissa Black ​ Curriculum Map August: ● Week 1, Unit 1 - Introduction to pitch September: ● Week 2, Unit 1 - The piano keyboard ● Week 3, Unit 1 - Reading pitches from a score ● Week 4, Unit 1 - Dynamic markings ● Week 5, Unit 1 - Review October: ● Week 6, Unit 1 - Test ● Week 7, Unit 2 - Dividing musical time ● Week 8, Unit 2 - Rhythmic notation for simple meters ● Week 9, Unit 2 - Counting rhythms in simple meters November: ● Week 10, Unit 2 - Beat units other than the quarter note and metrical hierarchy ● Week 11, Unit 2 - Review ● Week 12, Unit 2 - Test ● Week 13, Unit 4 - Hearing compound meters and meter signatures December: ● Week 14, Unit 4 - Rhythmic notation in compound meters ● Week 15, Unit 4 - Syncopation and mixing beat divisions ● Week
    [Show full text]
  • Children's Perceptions of Anacrusis Patterns Within Songs
    ----------------------Q: B ; ~~ett, P. D. (1992). Children's perceptions of anacrusis.......... patterns within songs.~ Texas.... Music Education Research. T. Tunks, Ed., 1-7. Texas Music Education Research - 1990 1 Children's Perceptions of Anacrusis Patterns within Songs Peggy D. Bennett The University of Texas at Arlington In order to help children become musically literate, music teachers have reduced the complexity of musical sound into manageable units or patterns for study. Usually, these patterns are then arranged into a sequence that presumes level of difficulty, and educators lead children through a curriculum based on a progression of patterns "from simple to complex." This practice of using a sequential, "patterned" approach to elementary music education in North America was embraced in 'the 1960's and 1970's when the methodologies of Hungarian, Zoltan Kodaly, and German, Carl Orff, were imported and introduced to American teachers, Touting the "sound before symbol" approach, these methods, for many teachers, replaced the notion of training students to recognize symbols, then to perform the sounds the symbols represented. For many teachers of young children, this era of imported methods reversed the way they taught music, and the organization of music into patterns for study was a monumental aspect of these changes. A "pattern" approach to music education is supported by speech and brain research which indicates that, even when iteJ:t1s are not grouped, individuals naturally process information by organizing it into patterns for retention and recall (Neisser, 1967; Buschke, 1976; Miller, 1956; Glanzer, 1976). Similar processing occurs when musical stimuli are presented (Cooper & Meyer, 1960; Mursell, 1937; Lerdahl & lackendoff, 1983, p.
    [Show full text]
  • Sibelius Artwork Guidelines Contents
    Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please
    [Show full text]
  • Realguitar 5 User's Manual
    REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard ..........................................................................................................................................................
    [Show full text]
  • Scanscore 2 Manual
    ScanScore 2 Manual Copyright © 2020 by Lugert Verlag. All Rights Reserved. ScanScore 2 Manual Inhaltsverzeichnis Welcome to ScanScore 2 ..................................................................................... 3 Overview ...................................................................................................... 4 Quickstart ..................................................................................................... 4 What ScanScore is not .................................................................................... 6 Scanning and importing scores ............................................................................ 6 Importing files ............................................................................................... 7 Using a scanner ............................................................................................. 7 Using a smartphone ....................................................................................... 7 Open ScanScore project .................................................................................. 8 Multipage import ............................................................................................ 8 Working with ScanScore ..................................................................................... 8 The menu bar ................................................................................................ 8 The File Menu ............................................................................................ 9 The
    [Show full text]
  • Kyser Banjo-Mandolin Capo, KBMB,Kyser KG6B 6-String Guitar
    Kyser Banjo-Mandolin Capo, KBMB Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. This Kyser® Quick-Change® is expertly engineered and built to last. It is reliable and does just what it is designed to do — clearly raise the pitch of the banjo so you can play in a different key without retuning or changing fingering. Seasoned professionals and beginning players alike appreciate how the Kyser® Quick-Change® helps them transpose their banjo in seconds, with only one hand. The beauty of the Kyser® Quick-Change® is in its simplicity. We pioneered this design and although often imitated, a Kyser® is never equaled. There is no substitute for a Kyser® Quick-Change®. UPC 00009265014104 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser KG6B 6-String Guitar Capo, Black Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Kyser 6-String Guitar Capo, Black, KG6B UPC 00009265016108 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser KG6G 6-String Guitar Capo, Gold Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Kyser 6-String Guitar Capo, Gold, KG6G UPC 00009265016207 Price: $24.95 $24.75 Customer Service Is Our Top Priority! Kyser Lifeguard Classical Guitar Humidifier System KLHC Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Description: Your acoustic and classical guitars deserve to be protected.They are investments that require steps to ensure their value grows over time.
    [Show full text]
  • Integrating Paper and Digital Music Information Systems Karen Lin and Tim Bell University of Canterbury, Christchurch, New Zealand
    Integrating Paper and Digital Music Information Systems Karen Lin and Tim Bell University of Canterbury, Christchurch, New Zealand Abstract Active musicians generally rely on extensive personal paper-based music information retrieval systems containing scores, parts, compositions, and arrangements of published and hand-written music. Many have a bias against using computers to store, edit and retrieve music, and prefer to work in the paper domain rather than using digital documents, despite the flexibility and powerful retrieval opportunities available. In this paper we propose a model of operation that blurs the boundaries between the paper and digital domains, offering musicians the best of both worlds. A survey of musicians identifies the problems and potential of working with digital tools, and we propose a system using colour printing and scanning technology that simplifies the process of moving music documents between the two domains. Keywords : user interfaces, user needs, optical music recognition 1. Introduction Traditionally musicians have stored and retrieved music scores using paper-based systems. Many musicians have built up personal libraries of music books, compositions, arrangements and sheet music. The acquisition or creation of documents is straightforward, but the retrieval or modification of scores is hindered by the inflexibility of the paper medium. A digital music library would have a number of benefits, including convenient retrieval (instead of searching through piles of music), ease of processing (such as part extraction), and communication (sending electronic copies to other performers). However working with digital documents also poses significant barriers for users more familiar with traditional paper documents. In this paper we explore the relationship between the paper and digital domains, and the possibility of allowing easy conversion between the two to allow documents to exist in both domains and be processed in whichever domain is the most convenient.
    [Show full text]
  • Guitar Capo Reference Chart
    Guitar Capo Reference Chart Chrestomathic Zalman puns very just-in-time while Pail remains uncircumcised and aligning. Unshed Clarance snipes, his auklet swang deep-fries tomorrow. Oogamous Dov yells no schoolhouses craning frolicsomely after Christian stultify confusedly, quite unmastered. Not hard it be just about guitar capo is assumed Using a capo will almost anything make the chords feel a little easier which immediately allow you to count more songs and caught more fun which will anger you had practice note All dice which will make you fly better player. 27 Chord Progressions for Guitar Players and Reference for Rhythm Technique What's must this post With it chord progression listed we've also included a. Getting a capo for my OM conversion from a 34 guitar 2275 scale. Hint to visualize the chart indicates a capo reference chart this now and effectively an error, you should open. Born In The USA Bruce Springsteen CAPO 7 I've oversee A once The Beatles. Guitar Capo Transition Chart Guitar Warrior. GuitarToolkit Agile Partners. Universal Capo Guitar Accessories Quick table Clamp Key Aluminium. How memory use a Capo on Guitar Using a Guitar Capo. Buy Guitar Laminated Chord Reference Sheet Tools Amazoncom FREE DELIVERY possible. For electric guitars and basses Capo the last fret. What trait I became instead embrace a capo? Reference Easy Apply Acoustic Electric Music Learning Guitar Chord Chart. Guitar Capos JOYO Audio UK. Diagram make reference to the left her finger- ing Some chord. When referencing fingerings for a return that uses a capo the player determines whether the chart references absolute finger positions or positions relative major the.
    [Show full text]
  • Pipa by Moshe Denburg.Pdf
    Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques.
    [Show full text]