150 Original Exercises in Unison for Band or Orchestra: C Treble Clef Instruments
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Anything that makes upper-register, or high, sounds is going to have its music written for it in the treble clef. The treble clef is also sometimes called the G clef. Note that the shape of the treble clef itself resembles a stylized G. The loop on the treble clef also cir- cles the second line on the staff, which is the note G, as shown in Figure The notes are located on the treble clef on lines and spaces, in order of ascending pitch, as shown in Figure The Musical Staff The bass clef On the piano, the bass clef contains lower-pitched notes, the ones below middle C, including all the notes you play with your left hand.
Music written in the bass clef is generally aimed at the lower wind instruments like the bas- soon, the lower brass instruments like the tuba, and lower stringed instru- ments like the bass guitar.
Another name for the bass clef is the F clef. It looks a bit like a stylized F, if you use your imagination.
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The curly top of the clef also partly encircles where the F note is on the staff, and it has two dots that surround the F note, as shown in Figure The notes on the bass clef are also arranged in ascending order, as shown in Figure The Part You Hum Figure Take a good look at the grand staff in Figure Ledger lines are lines written above the bass clef and below the treble clef that are necessary in order to connect the two clefs. Middle C is located one line below the treble clef and one line above the bass clef.
Put it all together, and the notes flow smoothly from one clef to the other with no interruptions. Alto and tenor clefs Occasionally, you may come across an animal known as the C clef. The C clef is a moveable clef and can be placed on any line of the staff. The line that runs through the center of the C clef, no matter which line that is, is consid- ered middle C, as seen in Figure C clefs were more commonly used before sheet music was standardized and able to easily accommodate a wide range of tones.
Today, the only C clefs in common use are the alto clef, which puts the C on the third staff line, and the tenor clef, which puts middle C on the next-to-the-top line of the staff. The alto clef is most commonly used in writing music for the viola, whereas the tenor clef is used for writing cello music. The white keys of the keyboard were assigned the natural letter notes, which turn out to be the notes of the C major scale, beginning with C. The black keys were added much later than the original white keys in order to help build more perfect musical scales on the piano.
The Part You Hum Dr. Robert Moog, inventor, on keyboard alternatives I think sound generation is a mature technology. Millions of people know how to play the piano. If somebody were to start off at the cheaply and easily. The same keyboards piano when they were kids. They feel the on a regular Qwerty keyboard. I think to relearn how to type. So new alternate con- the field is wide open for developing really trollers are like that, too. Designing them is sophisticated, really human-oriented control going to be half the job — the other half is going devices.
The modern piano keyboard is designed with each key, white or black, on the piano separated from the next by one half step or semitone. For example, the difference between the white C key on the keyboard and the black C sharp key is one half step. The difference between the white B key and the white C key is also one half step, because there is no black key between those two notes.
This design also corresponds with the layout of frets on a modern guitar, with each fret being separated from the next by one half step. Moving a whole step on the piano or guitar means you move two half steps from your starting position — for example, from the white C key to the white D key, or the black B flat key to the white C key.
Half steps and whole steps are intervals Chapter Knowing the difference between whole steps and half steps is very important when working with the patterns used to build scales as you see in Chapter 11 and chords covered in Chapter The Musical Staff Accidentals are notations used to raise or lower a natural note pitch on the staff by a half step. Accidentals come in three flavors: Just remember that a sharp looks like a pound, or number, sign.
A sharp is placed before a note to indicate that the note is raised a half step higher, as shown in Figure This black key, A sharp, is a half step up from A. A flat does just the opposite of a sharp. It lowers the note by a half step, as shown in Figure This black key, A flat, is a half step down from A.
The Musical Staff Figure The notation on the left in Figure is a double sharp, and the one on the right is a double flat. The double sharp raises the natural note two half steps — or one whole step — whereas the double flat lowers the note two half steps, or one whole step. Last but not least is the natural, shown in Figure When you see a natural sign next to a note, it means that any sharp or flat that is already in effect for the whole piece given in the key signature — see Chapter 11 for more on key signatures is cancelled.
The corresponding natural notes on the grand staff have been labeled on the keyboard. Notes on the Guitar The trouble with laying out the neck of a guitar against musical notation is that notes repeat themselves all along the neck, and it can get confusing with so many options for playing notes in different ways. Figures through show the notes of the first three frets of the guitar, then the next five, and then the next four.
Alfred 150 Original Exercises in Unison for Band Orchestra C Treble Instruments
The notes of the ninth through the twelfth frets. Here are just a few to get you going — feel free to come up with your own mnemonics memory helpers to help keep things straight. The treble clef Here are some easy ways to remember the order of the notes of the treble clef staff lines, starting at the bottom, on E, and heading up through G, B, D, and F on the top line of the staff: The Musical Staff The notes in the spaces are easy. The bass clef Here are some easy ways to remember the order of the notes on the bass clef staff lines, starting at the bottom note, G, and heading up to the A at the top: Notice that it is the higher-pitched range that babies and small children babble in, that birds sing in, and that pretty much all the happy little things make noise in.
This is why lead instruments are also sometimes called talking instruments. Attack The attack is the very first sound you hear when you hear a note and is possi- bly the most distinguishing aspect of a note. The attack of a piano is completely different. Each time you hit the key of a piano, a tiny hammer strikes three metal strings simultaneously, producing a beautiful, ringing sound. The guitar also has its own distinctive attack, a sharp little twang when the metal strings are first plucked — a sound definitely less pronounced if the guitar has nylon strings.
The different types of strings are partly responsible for the variety of guitar-playing styles by musicians. Electric rock guitars, pop acoustic, and country-and-western songs are usually played with metal- strung guitars because of that nice, crisp, aggressive-sounding twang. Classical, flamenco, and much of folk music use nylon-strung guitars because the attack is much softer-sounding, making for mellower music. Timbre The harmonic content, or timbre, of an instrument is what determines the middle part, or body, of each played note.
When you remove the attack and. The timbre and pitch range of a flute and violin are almost identi- cal, but because one is blown and one is bowed, that initial attack of each separate note is completely different and identifies these instrument by that very first split-second sound. However, the harmonics between some instruments is pretty radically differ- ent, simply because of their construction.
For example, the harmonic content between a note on a guitar and the same note on a piano are completely dis- similar, because one note on a guitar is one string being plucked, but one note on a piano is actually three strings tuned to three slightly different pitches being hit with a hammer this has to do with harmonics, covered later in this chapter.
Eventually, they had to record samples of the instruments themselves into the synthesizers in order to make flute and violin sounds, for example, distinguishable from one another. Not to men- tion oboes and tubas. There are two types of instrument decay: Tones are produced and immediately begin to decay until the next note played starts the process again. Common examples of instruments with an impulsive decay are those produced by plucking or striking, such as the guitar, most percussion instru- ments, and the piano.
A sustained decay is one for which the vibrating column of an instrument, such as the body of a flute, clarinet, or other column-shaped instrument, is excited continuously, so that the sound continues in a more or less steady. The Part You Hum state as long as the note is being played. Instruments producing sustained tones are those that are bowed or blown, such as violins and other bowed stringed instruments, woodwinds, free-reed instruments such as the accor- dion, and brass instruments.
You should notice two things. First of all, especially in an orchestral setting, all the performers playing the same instruments are sitting together. Secondly, notice that the lead instruments are in front of all the other instru- ments, especially in acoustic performances.
This is because of volume and perception: This principle applies to a regular four-piece band setting, too. If you want your singer to be heard above the guitars, make sure the amplifier carrying his or her voice is placed closer to the audience than the guitar and bass amp. Incidentally, the best place to sit at an orchestral performance is as close to the conductor as possible. Conductors build each orchestra for each perfor- mance around where they stand so that they can hear exactly what is being played.
This situation makes it pretty easy for a seasoned audio engineer to record an orchestral performance. Instrument Tone and Color Harmonics Any sound, not matter what the source, is caused by something vibrating. Without vibration, there can be no sound. These vibrations cause the air par- ticles next to the source to vibrate as well, and those air particles, in turn, cause the particles next to them to vibrate, and so on and so on, creating what we call a sound wave.
Just like a wave in water, the further out the sound wave moves, the weaker it gets, until it completely dissipates.
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If the original vibration creates a strong enough wave, though, it eventually reaches your ears and registers as a sound. These vibrations are analyzed by our brains and reg- istered as music, traffic, birds singing — whatever. Each complete vibration of a sound wave is called a cycle.
A diminished third is a half step smaller than a minor third. Yaus and Roy M. The to truly max your potential customers as comfortable as long as pdf ebooks download sitesi. Amazon Renewed Refurbished products with a warranty. You also tackle key signatures and the Circle of Fifths, which shows the relation among the different keys and chords in music. Amazon Advertising Find, attract, and engage customers.
The number of cycles completed in one second is called the frequency of the vibration. Frequency is measured in hertz, with one hertz Hz being one cycle per second.
One thousand hertz is called a kilohertz and is written as 1 kHz. A high-frequency vibration produces a high-pitched note; a low-frequency vibration gives a low-pitched note. The human hearing range audible range is about 16Hz to 16kHz. The fre- quencies of notes that can be played on a piano range from The musical note produced by a tuning fork is called a pure tone because it consists of one tone sounding at just one frequency. Instruments get their specific sounds because their sound comes from many different tones all sounding together at different frequencies.
A single note played on a piano, for example, actually consists of several tones all sounding together at slightly different frequencies. But a musical scale contains eight notes, meaning that some of the distance between notes in a scale spans one semitone, and some spans at least two semitones. See Chapter 12 for much more on scales. In other words, some half steps are skipped when building scales. On a piano, the white keys show you the C scale, over and over again.
The black keys rep- resent the semitones that are skipped in the C scale. This chapter talks about the difference between half steps and whole steps in music. Half Steps In Western musical notation, the smallest difference between two pitches is the half step, or semitone. Notice we use the word notation here. Strictly speaking, musical pitch is a continuous spectrum, because it is determined by the frequency of vibration see Chapter 8.
Therefore, many other micro- tonal sounds actually exist between consecutive half steps. The Part You Hum Western musical notation only recognizes the division of pitch down to half steps. In contrast, many Eastern instruments, particularly sitars and fretless stringed instruments, utilize quarter tones.
Quarter tones are pitches located halfway between each half step. See Figure for an illus- tration of this principle. E Half steps are identified here to the left and right of the E key on the piano. Note that every black key on a piano has two names. It can be referred to as the flat of the white key on its right, or the sharp of the white key on its left. E flat and D sharp are the same note. Incidentally, rarely will you hear F natural referred to as E sharp. Figures and show how flatting and sharping look in printed musical notation. Start with the G key on the keyboard, as shown in Figure G Half steps to the left and right of the G key on the piano.
A half step to the left flats the G Figure , and a half step to the right sharps it Figure Half steps are even easier and more straightforward on the guitar. Each fret is a half step. You just move one fret up or one fret down from your starting point, and that move of one fret equals one half step.
Moving down the neck toward the headstock of the guitar flats the note Figure , while up the neck towards the body sharps it Figure Whole Steps Following the logic that a half step on the piano or guitar is one key or fret away from the starting point, it only makes sense that a whole step would be two keys or frets away from the starting point.
One whole step to the left of E would be D, as shown in Figure DE Moving one whole step, or two half steps, to the left of E on the piano brings you to D. E Moving one whole step, or two half steps, to the right of E on the piano brings you to F sharp. On the guitar, a whole step is represented by a move of two frets up or down the neck.
Half steps and whole steps are intervals.
150 Original Exercises in Unison for Band or Orchestra :: Band Methods
There are lots of other kinds of inter- vals, and knowing them is where you begin to understand chords and har- mony. The next chapter, Chapter 10, is all about these intervals. This is where you start dealing with many notes at a time: Beginning with intervals beyond half and whole steps, you find out the building blocks of chords and move on to start putting them together to make music.