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Free Recorder Fingering Chart
Free Recorder Fingering Chart Is Curtis multilobed or premier when eructate some grandniece diluted undespairingly? Appositive Osbert catalyzing subject. Hermann phenolates contrariwise. Land called staff and labels what works both fingering recorder chart into fun and half covering the Yamaha recorder finger chart. Play is for four beats. FBX records in the background without lagging the game, and F are on each line of the staff, found only on this fileshare. Is black, gives better intonation recorder finger chart circles are promote the four fingers on the recorder. Dizi Lesson 1 First steps to making tones with fingering chart Dizi Lesson 2 Basic. The finger chart. Perhaps the fingering worksheets document template provides you are you opt in the melody until you and then download. Prompt shipping via USPS First Class mail. Series recorders with a lightweight carrying Case at names. You primary need to impact that section to firm a baby fit. Get exclusive discounts and coupons. Venova is the latest noise maker from Yamaha fingerings! Alto Recorder Fingering Chart Sheet good for Recorder Solo. Looks way portable than the ones online and in books. You click through the mouth and recorder fingering chart quickly take screengrabs of recorder more complex fingering chart in the middle, notably a link through a wide for? The shape of the mouth and vocal tract affect are closely related to the consonant used to articulate. Holes which are precisely the ones we cite to leave free if riot want to slip the notes altered. Free Easy Recorder Song With Letters Printable BAG An air way to teach beginner recorder with lettered notes colored notes and recorder fingering I. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
The Rivers Awards Composition Competition (RACC)
附件二 / ANNEX II The Rivers Awards Composition Competition(RACC) Designated Traditional Chinese Instruments Introduction Erhu Erhu Erhu Performance Demonstration (by LU Yiwen) The Erhu generally has two strings, namely the inner string and the outside string, with a bow between them. It is almost always tuned to the interval of a fifth and the treble clef is applied in Erhu music notation based on the actual pitch. Pipa Pipa and the artificial fingernails (right hand) Pipa Performance Demonstration (by SHU Yin) The strings of the Pipa are conventionally tuned to A-D-E-A. Players always wear the artificial fingernails for Pipa performance. The grand stave is applied in Pipa music notation based on the actual pitch. 1 / 2 附件二 / ANNEX II Dizi - Bamboo Flute (including Xiao) From top to bottom: Bangdi in G key, Qudi in D key, Xindi in G key and Xiao in G key Dizi Performance Demonstration (By WANG Junkan) Xiao Performance Demonstration (By WANG Junkan) The Dizi is a traditional Chinese transverse flute usually made of bamboo. It has six finger-holes, one blowing hole and one membrane hole. The membrane has a great influence on the sound produced by the flute. Qudi and Bangdi are the most predominant among the many varieties of Chinese flute. To satisfy the needs of different music, professional players usually have a set of dizi, each in a different key and size, where the Bangdi in G key and the Qudi in D key are most commonly used. A low octave approach in treble staff is applied to Dizi music notation. -
Bergen County Chapter American Recorder Society October 2019
Bergen County Chapter American Recorder Society October 2019 Chapter News Date Coach Next Meeting: The Bergen County chapter other summer festivals Festi- 10/16/19 Deborah Booth of the American Recorder val. Wednesday Society will hold it October 11/13/19 Ruth Cunningham Membership Dues: Mem- October 16, 2019 meeting on the 16th at our bership Dues this year are 12/11/19 Pat Neely at 7:30PM usual meeting place: Con- $90.00 per person. Please be gregation Adas Emuno. This sure to give or send you dues 1/08/20 Susan Hellauer Meetings are held at: month’s meeting will be con- to Gayle. Jason Priset or ducted by our long time 2/12/20 Congregation Adas Emuno Wen Chen 254 Broad Avenue friend Deborah. We look Recorder Lessons forward to a wonderful eve- Leonia, NJ 07605 3/11/20 Jason Priset or ning of recorder playing! Recorder classes are now available for beginner/novice Wen Chen There is a $10.00 suggested This Month’s Conductor recorder players. The class 4/18/20 Workshop will meet from 6:15 to donation for non-members. Deborah Booth is an active 7:15pm. The cost is $10.00 5/13/20 Gonzalo X. Ruiz recorder and flute performer per session. Contact Reita if of historical and modern 6/10/20 Larry Lipnik For Information contact: you or a friend are interested. Reita Powell, President instruments, and the co- 201-944-2027 founder and director of En- National Membership opportunities on the national [email protected] semble BREVE. Deborah level. -
Harpsichord Decoration- a Reflection of Renaissance Ideas About Music
HARPSICHORD DECORATION- A REFLECTION OF RENAISSANCE IDEAS ABOUT MUSIC ThonlllS McG«lry A prominent feature of leisure at all levels of Renaissance society was an "immense enthusiasm for music."1 And sources as diverse as Boccaccio's Decameron (1353), Baldassare Castiglione's II Iibro dei cortegiano (1528), the Tischreden (1566) of Martin Luther, and Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) give insights into the role of domestic music making in Renaissance society, as weIl as into the degree of musical skill expected of a member of "polite" society. Such diverse music making of course required musical instruments. And among those used in the Renaissance were keyboard instruments: harpsichords, spinets, virginals, and clavichords. As with many other such ostensibly utilitarian objects in Renaissance life, great care and expense were often lavished on the decoration of these instru ments: they were often painted with allegorical, mythological, or pastoral scenes; veneered and covered with inlay-work and sculpture; or embellished with semi-precious stones. Some decorative schemes gave great prominence to written inscriptions or mottoes. Such instruments were obviously intended to serve as works of art and signs of wealth as much as musical instruments. Baldassare Castiglione reported that his ideal ruler, Federigo da Montefeltro, Duke of Urbino, included "every kind of musical instrument" among the adornments of his palace 2 EXPLORATIONS IN RENAISSANCE CULTURE and that he did not' 'tolerate anything that was not most rare and outstanding. "2 And Sabba da Castiglione (Knight Hospitaller, scholar, amt art collector, c. 1484-1SS4) could commend furnishing palaces and rooms with musical in struments, including organs, harpsiehords, and clavichords, "because such instruments as these greally delight the ears, and they also please the eye very much when they are diligently made by the hands of excellent and ingenious masters. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
Wye---A-History-Of-The-Flute.Pdf
A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed. -
FOMRHI Quarterly
No. 23 APRIL 1981 FOMRHI Quarterly BULLETIN 23 2 BOOK NEWS 12 COMMUNICATIONS 327 To Study the Embrochure Hole Form F. Raudonikas 14 328 What was the Flauto d'Echo? J. Montagu 20 329 Covered strings for clavichords and square pianos. J. Barnes 22 330 How to make a Baroque Trumpet G. J. van der Heide 31 331 A Temporary Debarockant J.Drake 37 332 Photogrammetric Measurement. T. Hobrough 38 333 Devices for Measuring the Undercutting C. Karp 39 334 'Enigmatic Bars' G. Mather 46 33 5 String to Soundboard Proximity G. Mather 48 336 Early Double-Reeds B. Haynes. 51 337 English Nomenclature of Extended Lutes R. Spencer 57 338 Criteria for the Naming of Instruments. E. Segerman 59 339 On Water-Resistant Glues. J. P. Coutrait 63 340 On Shafts and Bearings for Hurdy Gurdies. S. Palmer 66 341 Lead in Keyboards J. Hermans 70 342 Organ Pitch G. Gwynn 72 343 A String Diameter on Mersenne's Bass Viol M. Namreges 77 344 Ambiguity in Mersenne's Use of "Grosseur" E. Segerman 79 345 Warning! P. Gretton 84 REVIEW 346-350 The Syntagma Musicum of Michael Praetorius, transl. H. Blumenfeld; Musical Wind Instruments, A. Carse; Leipzig Catalogue; Grundrichter Unterricht der musikalischen Kunst D. Speer; The Bassoon, W. Jansen. FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS 7 Pickwick Road, Dulwich Village, London SE2l 7JN, U.K. bull.23 P.2 FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS Bulletin no.23 April, 1981 Sorry, we're a bit behind ourselves this quarter; my fault, I was away on a conference at just the wrong moment, and Easter isn't going to help. -
The Music of Xiaoyong Chen Lei Liang
Contemporary Music Review Vol. 26, Nos. 5/6, October/December 2007, pp. 529 – 545 Colliding Resonances: The Music of Xiaoyong Chen Lei Liang Xiaoyong Chen. ª Friedrich Riehl Following Ligeti’s guidance, Xiaoyong Chen (b.1955) has consistently steered away from both the Chinese and the avant-garde establishments. His music explores the infinite richness of individual tones. The Duet for Violin and Zheng (1989) employs microtonal tuning, and focuses on the inter-resonance of colliding sonorities and tuning systems. Evapora (for small chamber ensemble, 1996) demonstrates his interest in juxtaposing harmonic and/or non-harmonic fusion. With a minimum of means, his highly personal musical vocabulary reveals a pluralistic world of clashing tuning systems, modes and individual voices; it also captures both the integration and tension between contrasting cultural elements. Keywords: Xiaoyong Chen (b.1955); Duet; Evapora; Spectra; Chinese Contemporary Music ISSN 0749-4467 (print)/ISSN 1477-2256 (online) ª 2007 Taylor & Francis DOI: 10.1080/07494460701652962 530 L. Liang Among overseas Chinese composers, Xiaoyong Chen ( , last name Chen) occupies an artistically important yet peripheral position. His musical vocabulary and rhythmic gestures share little in common with those of his compatriots, and he demonstrates noticeable restraint in the use of derivative ‘Chinese trademarks’. Consciously avoiding the exploitation of the traditional Chinese musical heri- tage by methods that oversimplify it, his music evokes an introspective atmo- sphere while using a minimum of means to do so. His art has an inventive precision, contemplative intimacy and poetic elegance—and by exploring the infinite richness of individual tones and their inter-resonance, Chen captures both the integration and tension between colliding sonorities, idioms and cultural sensitivities. -
Flute Acoustics Outline
04/11/2014 Norwegian Acoustical Society, Autumn Meeting 2014, Gardermoen Flute acoustics Jens Holger Rindel Multiconsult 2014-10-24 Outline • Origins of flutes • Acoustic principles • Flutes with closed tube • Vessel (cavity) flutes • Overtone flutes • Vertical flutes • Fipple flutes (recorders) • Transverse flutes 1 04/11/2014 The Jiahu gǔdí (贾湖骨笛 ) is the oldest known musical instrument from China, dating back to around 6000 BC. Gudi literally means "bone flute". Sound generation Air stream against a sharp edge, Coltman, 1968 2 04/11/2014 Acoustical principles of flutes • Cavity flutes • Closed tube • Open tube Open and closed tubes Lowest resonances (harmonics) 3 04/11/2014 Open and closed tubes Lowest resonances (harmonics) Open – relative frequencies: 2 – 4 – 6 – 8 – 10 - 12 Closed – relative frequencies: 1 – 3 – 5 – 7 – 9 - 11 Selje-fløyten (Norwegian willow flute, combining open and closed harmonics) Chr. Skredsvig 1889 4 04/11/2014 Tone holes 1 1: Marno flute (Denmark) for demonstrating principles 5 04/11/2014 2 3 4 Flutes with closed tube 2: Pan flute, 3: Wiking pan flute (York, ca. 1000 AD), 4: Swanee flute 5 Organ pipe, closed type 6 04/11/2014 8 6 7 10 11 9 Vessel (cavity) flutes 6: Ancient (China), 7: Boatman’s whistle, 8: Nightingale whistle (Turkey) 9: Medieval (Wismar, Germany) 10: Modern clay flute (Austria) 11: Gemshorn (Germany) 12 13 Overtone flutes 12: Willow flute (Selje fløyte, Norway) 13: Txistu (Basque) 7 04/11/2014 14 Overtone flute 14: Fujara (Slovakia) 15 16 17 Vertical flutes 15: Bamboo flute (Africa) 16: -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
A LISTING of INVENTORIES and PURCHASES of FLUTES, RECORDERS, FLAGEOLETS, and TABOR PIPES, 1388–1630 Compiled by David Lasocki
A LISTING OF INVENTORIES AND PURCHASES OF FLUTES, RECORDERS, FLAGEOLETS, AND TABOR PIPES, 1388–1630 Compiled by David Lasocki © 2004 by David Lasocki, all rights reserved This is an attempt to compile all references to members of the flute family in inventories and purchases of the Middle Ages, Renaissance, and early Baroque. In only a few cases have I been able to see the original source, so I have relied on the transcriptions of others, who are all cited. The English translations are almost all my own, with more than a little help from my friends. The translations are fairly literal, and I have done my best to leave in any ambiguities, commenting on them in parentheses. I realize that it would have been more revealing to include all references to wind instruments in the documents in question, but that is a far larger project for some other day. For now, I trust that the present listing will serve as a useful research tool as well as a fount of inspiration and delight. Acknowledgement: A number of people have provided indispensable help in the compilation and translation of this listing: Frank Bär, Albert Jan Becking, Pierre Boragno, Barra Boydell, Lucie Brodbeckova, Adrian Brown, Nabí Cabestany, Emma Dederick, Liane Ehlich, Rosanna Fidler, Maggie Kilbey, Nicholas Lander, Eva Legêne, Timothy McGee, Herbert Myers, Jonathan Katz Nelson, Keith Polk, Ardal Powell, Roger Prior, Benito Rivera, Andrew Robinson, Samuel Rosenberg, Anne Smith, Nikolaj Tarasov, Marco Tiella, Erich Tremmel, Maria Luz Valdez, Peter Van Heyghen, and Kornel Wolak. I have been able to do this work thanks to the splendid facilities of the Indiana University Libraries and their dedicated faculty and staff, particularly Michael Fling, Head of Collection Development in the Cook Music Library, and the staff in the Interlibrary Loan office.