Basic Music Course: Keyboard Course
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Hammond XK-1C Owner's Manual
*#1 Model: Th ank you, and congratulations on your choice of the Hammond Draw- bar Keyboard XK-1C. Please take the time to read this manual completely to take full advantage of the many features of your XK-1C; and please retain it for future refer- ence. MENU / EXIT VA L U E VOLUME AMOUNT RECORD ENTER 1 23 4 5 6 7 8 MANUAL Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. Refer all servicing to your retailer, the nearest Ham- when: mond Dealer, or an authorized Hammond distributor, Th e AC adaptor, the power-supply cord, or the as listed on the “Service” page. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale -
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected]
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected] Piano vs. Organ Tone “…..the vibrating string of the piano is loudest immediately after the attack. The tone quickly decays, or softens, until the key is released or until the vibrations are so small that no tone is audible.” For the organ, “the volume of the tone is constant as long as the key is held down; just prior to the release it is no softer than at the beginning.” Thus, the result is that “due to the continuous strength of the organ tone, the timing of the release is just as important as the attack.” (Don Cook: Organ Tutor, 2008, Intro 9 Suppl.) Basic Manual Technique • Hand Posture - Curve the fingers. Keep the hand and wrist relaxed. There is no need to apply excessive pressure to the keys. • Attack and Release - Precise rhythmic attack and release are crucial. The release is just as important as the attack. • Legato – Essential to effective hymn playing. • Independence – Finger and line. Important Listening Skills • Perfect Legato – One finger should keep a key depressed until the moment a new tone begins. Listen for a perfectly smooth connection. • Precise Releases – Listen for the timing of the release. Practice on a “silent” (no stops pulled) manual, listening for the clicks of the attacks and releases. • Independence of Line – When playing lines (voices) together, listen for a single line to sound the same as it does when played alone. (Don Cook: Organ Tutor, 2008, Intro 10 Suppl.) Fingering Technique The goal of fingering is to provide for the most efficient motion as possible. -
Accordion Electronic Keyboard Electric Organ
Accordion Electronic Keyboard Electric Organ Technical Requirements & Discussion Questions for Recorded Graded Exams The following list of technical requirements should be performed to make up the Technical Work component of the exam for: • Accordion (pp.1-5 • Electronic Keyboard (pp.!-1" • Electric Organ (pp. 11-1# Candidates may choose which scales or arpeggios to perform but should& where possible& select a variety of different ke%s. Close attention should be paid to instructions on articulation and dynamics. Further guidelines on specific requirements for each grade (such as the set scales for each grade and instructions on hands together or separate performance) can be found in the rele'ant L$*+ syllabus. Accordion Grade Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: one ma-or one minor one augmented one dominant 7th one diminished 7th Discussion Questions .oth questions to be answered at an% point during the exam: • Which of the pieces you pla%ed today is your fa'ourite and wh%0 • What is the mood of this piece0 1 Grade $% Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: two ma-or two minor one augmented one dominant 7ths one diminished 7ths Discussion Questions .oth questions to be answered at an% point during the exam: • Which of -
The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990. -
Mozart and Brahms I Contents Welcome 1
Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto. -
MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS
Stereo Reverb MX300 Effects Procesor MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS WARNING FOR YOUR PROTECTION READ THE FOLLOWING: READ THESE INSTRUCTIONS. KEEP THESE INSTRUCTIONS. HEED ALL WARNINGS. FOLLOW ALL INSTRUCTIONS. The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means DO NOT USE THIS APPARATUS NEAR WATER. that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is CLEAN ONLY WITH A DRY CLOTH. necessary for the user to refer to the owner’s manual. FOR INDOOR USE ONLY. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE yourself. Refer all servicing to qualified personnel. Opening the WITH THE MANUFACTURER’S INSTRUCTIONS. chassis for any reason will void the manufacturer’s warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS, immediately and take it to a dealer for service. Disconnect the unit STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT. during storms to prevent damage. ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER. The following is indicative of low altitude use; do not use this product above UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR 2000m. LONG PERIODS OF TIME. Do not defeat the safety purpose of the polarized or grounding-type plug. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
The Development of Musical Notation Carolyn S
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2015 yS mposium Apr 1st, 2:20 PM - 2:40 PM Slashes, Dashes, Points, and Squares: The Development of Musical Notation Carolyn S. Gorog Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, and the Music Theory Commons Gorog, Carolyn S., "Slashes, Dashes, Points, and Squares: The eD velopment of Musical Notation" (2015). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2015/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Slashes, Dashes, Points, and Squares: The development of Musical Notation Slashes, Dashes, Points, and Squares: The Development of Musical Notation Music has been around for a long time; in almost every culture around the world we find evidence of music. Music throughout history started as mostly vocal music, it was transmitted orally with no written notation. During the early ninth and tenth century the written tradition started to be seen and developed. This marked the beginnings of music notation. Music notation has gone through many stages of development from neumes, square notes, and four-line staff, to modern notation. Although modern notation works very well, it is not necessarily superior to methods used in the Renaissance and Medieval periods. In Western music neumes are the name given to the first type of notation used. -
One Hundred Fifteenth Congress of the United States of America
H. R. 1892 One Hundred Fifteenth Congress of the United States of America AT THE SECOND SESSION Begun and held at the City of Washington on Wednesday, the third day of January, two thousand and eighteen An Act To amend title 4, United States Code, to provide for the flying of the flag at half-staff in the event of the death of a first responder in the line of duty. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SECTION 1. SHORT TITLE. This Act may be cited as the ‘‘Bipartisan Budget Act of 2018’’. DIVISION A—HONORING HOMETOWN HEROES ACT SECTION 10101. SHORT TITLE. This division may be cited as the ‘‘Honoring Hometown Heroes Act’’. SEC. 10102. PERMITTING THE FLAG TO BE FLOWN AT HALF-STAFF IN THE EVENT OF THE DEATH OF A FIRST RESPONDER SERVING IN THE LINE OF DUTY. (a) AMENDMENT.—The sixth sentence of section 7(m) of title 4, United States Code, is amended— (1) by striking ‘‘or’’ after ‘‘possession of the United States’’ and inserting a comma; (2) by inserting ‘‘or the death of a first responder working in any State, territory, or possession who dies while serving in the line of duty,’’ after ‘‘while serving on active duty,’’; (3) by striking ‘‘and’’ after ‘‘former officials of the District of Columbia’’ and inserting a comma; and (4) by inserting before the period the following: ‘‘, and first responders working in the District of Columbia’’. (b) FIRST RESPONDER DEFINED.—Such subsection is further amended— (1) in paragraph (2), by striking ‘‘, United States Code; and’’ and inserting a semicolon; (2) in paragraph (3), by striking the period at the end and inserting ‘‘; and’’; and (3) by adding at the end the following new paragraph: ‘‘(4) the term ‘first responder’ means a ‘public safety officer’ as defined in section 1204 of title I of the Omnibus Crime Control and Safe Streets Act of 1968 (34 U.S.C. -
Piano / Keyboard for Absolute Beginners
Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ................................................................................................... -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice.