She said fingerings are your strategy; it's like a general going into battle.
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She was very insistent that when you came in you had fingerings figured out.
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I have no doubt that this would be easier than learning real guitar fingerings, but you're developing the exact same skill.
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And since this 1981 recording was also filmed, many of Gould's fingerings and pedaling choices could be observed and are included in the edition.
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Thickened and hardened white gypsum cement describes the simultaneity of sensation experienced from both sides of the skin, inside and out, where awareness arises from the accumulation of incremental fingerings.
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He often uses uncomfortable alternate fingerings that aren't part of the sax's natural design, and bouncing across the instrument's wide terrain causes his fingers lock up and his forearms to swell with pain.
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"My scores of Schumann, Chopin, Ravel, and Messiaen are still covered in the meticulous fingerings and often pointed criticisms that she would notate, bar after bar," he wrote shortly after Loriod's death, in 2010.
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With Bach, there are certain ideas that are fixed, but so many ideas are so fluid that I find if I write something in and keep it there, I find it inhibiting, even fingerings.
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The printed page is darkened with Menuhin's pencil markings fixing the contours of a phrase, the direction of bow strokes, fingerings, the speed and width of vibrato: the expression, in graphite, of a player's interpretation and craft.
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His version of Mason Williams's instrumental hit from 1968, which was included on Mr. Campbell's 1977 live album, allows him to show off his quick fingerings, as he adds tricky elaborations and modal variations not found in the original.
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With her left, she made fast single-note fingerings, or pressed the side of her hand across the neck, or plucked the open note of the lowest string with her thumb while rubbing another string with the tip of her index finger.
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As I sat down to pick my way through the piece, I paid attention less to the printed notes than to her annotations and fingerings, thinking that with each wrist circle or tuck of a thumb behind ring finger, I was not so much executing them as embodying a tiny part of her.
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The School of Agility is a book by Eugene Levinson (also published by Carl Fischer) which concentrates on improving vital fingering technique for bass players of all levels. His approach focuses on improving rhythm, intonation and fingerboard agility via a variety of fingerings. The book includes: -Fingerings designed to allow the individual bassist to find those most suitable to their style and level of playing. -Fingerings appropriate to certain playing situations -Fingerings concerned with the shaping of phrases by facilitating smoother transitions.
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Diagram describing the keys on a bassoon The fingering technique of the bassoon varies more between players, by a wide margin, than that of any other orchestral woodwind. The complex mechanism and acoustics mean the bassoon lacks simple fingerings of good sound quality or intonation for some notes (especially in the higher range), but, conversely, there is a great variety of superior, but generally more complicated, fingerings for them. Typically, the simpler fingerings for such notes are used as alternate or trill fingerings, and the bassoonist will use as "full fingering" one or several of the more complex executions possible, for optimal sound quality. The fingerings used are at the discretion of the bassoonist, and, for particular passages, he or she may experiment to find new alternate fingerings that are thus idiomatic to the player.
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The app contains fingerings and string bowings by famous living and historic performers.
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He also developed a notation system to indicate aspects of drumming compositions (e.g. fingerings).
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Multiphonic played on an oboe using alternative fingering. The frequency spectrum of this sound. On woodwind instruments—e.g., saxophone, clarinet, oboe, bassoon, flute, and recorder—multiphonics can be produced either with new fingerings, by using different embouchures, or voicing the throat with conventional fingerings.
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Fingerings for the mellophone are the same as fingerings for the trumpet, alto (tenor) horn, and most valved brass instruments. Owing to its use primarily outside concert music, there is little solo literature for the mellophone, other than that used within drum and bugle corps.
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Crumhorns can be chromatically played by using cross- fingerings, except for the minor second above the lowest note.
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Wayne's scale fingerings were designed to maximize use of consecutive/alternate picking, and thus to provide a legato feel. His basic scale fingerings are simple, although he also created various extended forms. Like his analytic approach to chords, his scale fingerings provide a single structure that can be applied to a variety of scale forms. The simple rule for transverse diatonic, melodic minor, and harmonic minor scales is: 2-3-3-3-2-2, where each number represents the number of notes to play on each string, from low E to high E strings.
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There are now new books that have begun to be published about these fingerings and notation as qin culture and study gains momentum.
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The fingerings for a saxophone do not change from one instrument to another. Here, notes on a treble staff correspond to fingerings below. Saxophone technique refers to the physical means of playing the saxophone. It includes how to hold the instrument, how the embouchure is formed and the airstream produced, tone production, hands and fingering positions, and a number of other aspects.
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Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.
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These elements have resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed by factors such as cultural difference in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to have some uniformity in technique, but on a global scale, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated. The left thumb operates nine keys: B1, B1, C2, D2, D5, C5 (also B4), two keys when combined create A4, and the whisper key.
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In the 1980s Lindley and Boxall showed that the above relies solely on C.P.E. Bach's testimony: all the extant fingerings from J.S.Bach and his circle use the ancient methods, with very limited use of the thumb. More recently it has been shown that all his harpsichord works and most of the organ works as well are playable with the old technique.Mark Lindley and Maria Boxall. Early Keyboard Fingerings: an Anthology.
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This playing mechanism employed for the first time, cross-fingerings and halving-fingerings among other over-blowing techniques that produced the entire range of chromatic and harmonic sounds of the flute. Today, atenteben music attracts a large following. Composers of diverse backgrounds have come to recognize the ease with which the instrument can be adapted to different genres of music. Its tuning, though, is yet to be perfected.
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Klaus Schilde (born September 12, 1926) is a German pianist and violinist who has made numerous recordings, radio and TV broadcasts and produced 100 Henle urtext editions of fingerings.
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Torello began studying double bass with his father and his older brother Peter. Warren Benfield recalls this anecdote about Torello's early schooling in talking about experimental fingerings: > The late Anton Torello ... once said that when he was a student in Barcelona > (his whole family were bass players) he wasn't given anything to eat until > he knew his lesson. Sometimes he got very hungry. What he would do to learn > etudes was to develop his fingerings.
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The dojo is a hybrid instrument designed as a cross between the Dobro-style guitar and the banjo. The body and resonator are like the Dobro, while it is strung like a five-string banjo. The tunings and fingerings are also just like a banjo. The intention in creating the dojo was to give banjoists the opportunity to get a completely different sound without having to learn fingerings for an entirely new instrument.
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The playing techniques of the guqin, sometimes called fingerings, are more numerous than those of any other Chinese or Western musical instrument. They are also complex and full of symbolism.
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A transposing piano is a special piano with a mechanism (operated by a pedal or lever) that changes the keyboard position relative to the action (see Development of the modern piano for details). This transposes (changes the key of) any particular keyboard fingering. A transposing piano enables a person who knows a composition's fingerings in a certain key but who cannot transpose that composition from one key to another to continue playing in the latter key using the fingerings of the familiar key. More generally, a person who learns keyboard fingerings on the basis of relative pitch with respect to the tonic of any given composition can use a transposing piano to play along with a choir and/or orchestra performing in any key.
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He also invented instruments of his own. One of the most famous was the Wheatstone concertina. It was a six sided instrument with 64 keys. These keys provided for simple chromatic fingerings.
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That being said, Shengs are generally categorized into either type based on the kind of fingering system that they adopt. This includes (on traditional Shengs) certain notes (namely the leading note, submediant, dominant, followed by tonic) present as a group on the left posterior side. Due to fourth and fifth harmonies being common in traditional Sheng repertoire, the fingerings on traditional shengs are optimized for such. As a result, fingerings for traditional Sheng tend to look jumbled up, and can vary regionally.
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The octave key is a key on the saxophone or oboe that raises the pitch of most notes by an octave when pressed, so that similar fingerings can be used for two different octaves.
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Almost all piccolo trumpets have four valves instead of three — the fourth valve usually lowers the pitch by a fourth. This extends the low range and provides alternate fingerings and improved intonation for some notes.
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The tone of the Boehm system clarinet is more open than its predecessors' veiled tone. Fork- and cross-fingerings create a greater number of closed holes—another cause of the pre-Boehm clarinet's dull tone. Due to the advancements in keywork, the Boehm system clarinet does not rely on many such fingerings, allowing for more open holes and a more vibrant tone that forgoes the unique color of the pre-Boehm clarinet. Furthermore, Boehm keying advancements notably improved the technical facility of its players.
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Otherwise the fingerings are the same as in the standard Boehm system. The McIntyres produced and sold clarinets using their system, but faced an uphill battle in marketing them. Other than the need for the clarinetist to learn the new throat fingerings, the main drawbacks to the system were the weight and complexity of the mechanism. Lacking funds to work on improvements, the McIntyres tried to interest a major clarinet manufacturer in the system but were unable to reach an agreement, and production of the instrument ceased.
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"To provide an accessible example of how color fingerings can be used, I have selected a piece called Longing by Olga Gorelli. It was originally written for flute, but is thoroughly playable on alto recorder."Broege, Tim.
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He also invented physical stop mutes for the French horn, which now come in both transposing and non-transposing variants; the latter does not require the player to change their fingerings as they would when hand-stopping.
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The composer's manuscript for this composition survives. Compared to most of his manuscripts, the music score of this piece is written neatly and can be read easily. Beethoven's suggested fingerings for piano is included in the manuscript.
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While most E clarinets are built and marketed for professionals or advanced students, inexpensive plastic E clarinets have been produced for beginning children's use. These have a simplified fingering system, lacking some of the trill keys and alternative fingerings.
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In the Baroque period cross-fingering improved, allowing music in an increasing variety of keys, but in the Classical and Romantic periods flute design changes such as larger tone holes made cross-fingering less practical while keywork increasingly provided an easy alternative to playing chromatic notes without cross-fingerings.Larsen (2011), p.51. The Boehm system was developed in part to replace cross- fingerings. The first key added to the flute, the short F key, crossed the flute's body, replacing a fingering with an open hole above a closed one, and is presumably the origin of the name for such "cross" fingerings.
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Also, any note produced with 1–2 as its standard fingering can also be produced with valve 3 – each drops the pitch by steps. Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the fingerings 1–3 or 1-2-3 further lowers the pitch slightly to improve intonation. Some of the partials of the harmonic series that a modern Bb trumpet can play for each combination of valves pressed are in tune with 12-tone equal temperament and some are not.
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Notable recordings for the ECM label include music of Janáček and Sándor Veress, major works of Schubert and Beethoven using a period fortepiano, and live recordings of all of Beethoven's piano sonatas, made in Zurich. Between 2004 and 2006 he gave a series of lecture-recitals on the complete Beethoven sonatas in London's Wigmore Hall. His live concert recordings for ECM also include his second traversals of the Bach Partitas and Goldberg Variations. For G. Henle, he provided fingerings for new editions of Bach's The Well- Tempered Clavier (published in 2006) and fingerings and missing cadenzas for a new edition of the Mozart piano concertos (begun in 2007).
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Within each overtone series, the different pitches are attained by changing the embouchure. Standard fingerings above high C are the same as for the notes an octave below (C is 1–2, D is 1, etc.). tone; a half step = a semitone Each overtone series on the trumpet begins with the first overtone—the fundamental of each overtone series cannot be produced except as a pedal tone. Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch is close to the note shown, it is flat relative to equal temperament, and use of those fingerings is generally avoided.
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It also includes a changeable bridge which allows triple stops, i.e. full triads, to be sustained. Partch hammered brads into the fingerboard to aid with finding fingerings. The Adapted Viola was constructed in New Orleans with the assistance of an Edward Benton, a local violin maker.
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However, many contemporary Native American flutes will play the primary scale using the fingering shown in the adjacent diagram. While the pentatonic minor scale is the primary scale on most contemporary Native American flutes, many flutes can play notes of the chromatic scale using cross-fingerings.
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Ortolani, Benito. 1969. "Iemoto." Japan Quarterly 16 (3): 301. In contrast to Western staff notation, shakuhachi playing instructions commonly indicate multiple fingerings resulting in various timbres for a given pitch, and microtonal slides between semitones. Solo Kinko school honkyoku ("original pieces") generally do not feature an explicit beat.
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A major milestone for Wayne's students was to experience a mental synthesis of his chord system and the arpeggio structures - revealing the internal relationships that link families of chords. Reaching this plateau would "unlock the fretboard", transforming it into something that could be approached more like a piano keyboard. This happens because Wayne's tetrad chord shapes are contained within the 2-1-2-1-2 fingerings. Again the goal is to play melodic lines that sound the best on the instrument. Wayne taught many other arpeggio fingerings beginning with close chord form: 1-1-1-1 for one octave. Others for one octave are: 1-1-2, 1-2-1, 2-1-1, and 2-2.
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There are some copies of Bach's compositions in Vogler's hand; he was formerly known in the Bach literature as 'Anonymous 18' before his identity was established. The copy he made of the Prelude and Fughetta in C major, BWV 870a, is valued in performance practice studies, for its written-out fingerings.
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The Akhak gwebeom (, literally "musical canon") is a nine-volume treatise on music, written in Korea in the 15th century, in the Joseon Dynasty. It is written by hand in hanja, and depicts, in line drawings, most of the musical instruments in use at the time, with detailed descriptions and fingerings.
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Thompson was born in Columbia, South Carolina, and moved to Detroit, Michigan, during his childhood. Thompson had to raise his siblings after his mother died, and he practiced saxophone fingerings on a broom handle before acquiring his first instrument. He joined Erskine Hawkins' band in 1942 upon graduating from high school.
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Different instruments often play differently in this respect due to the sensitivity of the bore and reed measurements. Using alternate fingerings and adjusting the embouchure helps correct the pitch of these notes. Since approximately 1850, clarinets have been nominally tuned according to twelve-tone equal temperament. Older clarinets were nominally tuned to meantone.
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First position fingerings. Note that this diagram only shows the "first position" notes. There are notes of higher pitch beyond those indicated. The left hand determines the sounding length of the string, and thus the pitch of the string, by "stopping" it (pressing it) against the fingerboard with the fingertips, producing different pitches.
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The Peter Bartók edition, especially, has interesting fingerings because Paul Neubauer edited most of the viola part.Béla Bartók, Viola Concerto, ed. by Paul Neubauer (USA: Boosey & Hawkes, 2003), 1. Many bowings also differ between different editions, some of them inserted specifically to accent certain rhythms and high notes, such as in mm.
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Each volume carries a bar-by-bar commentary upon variant texts as a supplement, and the edition was based primarily on comparison of autograph manuscripts, approved copies and first editions, with special attention to original dynamic markings and fingerings, etc. In his later years Turczyński lived in Brazil, but he died in Lausanne, Switzerland.
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Dee Barton was born in Houston, Mississippi in 1937 and eventually the family moved to Starkville, Mississippi in 1941. His father became the band director at Starkville High School. "My dad brought home an old E flat mellophone and at the age of three I figured out the fingerings on it," said Barton. Barton later took up the trombone.
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Unfortunately she died early in the marriage. He died at age 92 in Pittsburgh and was buried in the Roman Catholic Calvary Cemetery. In 2005 several of his students began the process of forming a Norman Frauenheim Students’ Society. A major area of sharing has been a compilation of Paderewski’s fingerings and personal editing as taught by Frauenheim.
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He would work out as many ways as > possible to play a passage and learn them all. Then he would put his music > away for a day or two, and when he tried all the fingerings again, one was > usually clearly better than the others.Benfield, Warren, and James Seay > Dean. The Art of Double Bass Playing.
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The method of production varies from one type of instrument to another. On brass instruments, it is usually created by means of a mute, particularly with the harmon (also called a "wa-wa" mute) or plunger mute. Woodwind instruments may use "false fingerings" to produce the effect. Any electrified instrument may use an auxiliary signal-processing device, or pedal.
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The simple rule for his extended fingering is: 3-3-3-3-3 (five strings). Wayne provides many other fingering patterns in his "Scales" method book. The idea behind all of the various fingerings is that the student will be able to quickly learn the fretboard. In this way the player can create melodic lines that sound the best.
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It has the same general shape as a soprano, but is approximately 50% larger in all dimensions. A 50% increase in length causes a 50% increase in the wavelength for a given fingering. This lowers the pitch by a perfect fifth, that is from C to F. The F alto is a non-transposing instrument, though its basic scale is in F, that is, a fifth lower than the soprano recorder and a fourth higher than the tenor (both with a basic scale in C). So-called F fingerings are therefore used, as with the bassoon or the low register of the clarinet, in contrast to the C fingerings used for most other woodwinds. Its notation is usually at sounding pitch, but sometimes is written an octave lower than it sounds.
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Many extended techniques can be performed on the bassoon, such as multiphonics, flutter-tonguing, circular breathing, double tonguing, and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by "gargling" in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using particular alternative fingerings, but are generally heavily influenced by embouchure position. Also, again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These notes tend to sound very gravelly and out of tune, but technically sound below the low B. The bassoonist may also produce lower notes than the bottom B by extending the length of bell.
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29, Rome, Andrea Fei, (facsimile) accessed 12/23/14 The first patented capo was designed by James Ashborn of Wolcottville, Connecticut year 1850.History of the Guitar Capo , theguitarcapo.com (accessed 02/27/15) Musicians commonly use a capo to raise the pitch of a fretted instrument so they can play in a different key using the same fingerings as playing open (i.e.
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Skilled performers can use their embouchures to considerably alter the tuning of individual notes or produce vibrato, a pulsating change of pitch often employed in jazz. Vibrato is rare in classical or concert band literature; however, certain clarinetists, such as Richard Stoltzman, use vibrato in classical music. Special fingerings may be used to play quarter tones and other microtonal intervals.Lawson, pp.
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The cello is famous as its melodic, deep timbre. It is one of the most important instruments in symphony orchestra, chamber music, and even solo aspect. Different players in different countries have their own playing style. Usually the way cellists interpret the sound, and even how cellists use their fingerings, are influenced by their own music culture in their own countries.
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In 1796 Blasius wrote a treatise on playing clarinet (Nouvelle methode de clarinette et raisonnement des instruments) which included a fingering chart for a five-key instrument built in five sections: mouthpiece, barrel, two finger-hole sections, and stock bell.Rice (2005), p. 30Hoeprich (2008), p. 88. It included separate fingerings for the enharmonically equivalent notes of g-sharp and a-flat.
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Fingering for the primary scale (pentatonic minor) on many contemporary Native American flutes. Native American flutes typically have either five or six finger holes, but any particular instrument may have from zero to seven finger holes. The instrument may include a finger hole covered by the thumb. The fingerings for various pitches are not standardized across all Native American flutes.
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The ring keys Boehm created for his flute gave other instrument inventors the means to devise logical fingering systems that allowed for more physical agility. Ring keys and needle springs were the two major features adapted for Klosé and Buffet's new design. However, they did not incorporate Boehm's concept of full venting. Ring keys virtually eliminated the problems of cross-fingerings.
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There are some large discrepancies between the different editions of this concerto, due to little being known about Bartók's intentions. Some are as simple as the metronome markings for each movement. Each editor also had very different interpretations of fingerings for the concerto. One edition suggests beginning the first movement on the open A string, while others suggest beginning on the D string.
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Adolphe Fontaine-Besson patented a similar instrument in 1890 but allowed the patent to lapse in 1898. By this time the contrabassophone had been largely superseded by improved versions of the contrabassoon for orchestral use, and by the tuba in wind bands. An instrument like those that Morton made has a range of three octaves and one tone from a low C to a high D. The fingerings are like a recorder to some degree, with a number of chromatic notes played with forked fingerings, making it quite difficult to play in keys with three or more accidentals. This could have been one of the reasons that the instrument was not played in English orchestras by the late part of the nineteenth century, instead being played in military bands such as the Coldstream, the Grenadier and the Scots Guards.
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Elgar, despite himself being a violinist, called upon W. H. "Billy" Reed, leader of the London Symphony Orchestra, for technical advice while writing the concerto. Reed helped him with bowings, passage-work and fingerings, playing passages over and over again until Elgar was satisfied with them. Kreisler also made suggestions, some for making the solo part more brilliant and some for making it more playable.
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As clarinets improved, the chalumeau fell into disuse, and these notes became known as the chalumeau register. Original Denner clarinets had two keys, and could play a chromatic scale, but various makers added more keys to get improved tuning, easier fingerings, and a slightly larger range. The classical clarinet of Mozart's day typically had eight finger holes and five keys. Clarinets were soon accepted into orchestras.
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Each major and minor chord can be played on two successive frets on three successive strings, and therefore each needs only two fingers. Other chords—seconds, fourths, sevenths, and ninths—are played on only three successive frets. For fundamental-chord fingerings, major-thirds tuning's simplicity and consistency are not shared by standard tuning, whose seventh-chord fingering is discussed at the end of this section.
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Lenny Pickett (born April 10, 1954) is an American saxophonist and musical director of the Saturday Night Live band. From 1973 to 1981 he was a member of Tower of Power. He is known for his skill in the altissimo register (executed by using a combination of embouchure control, air stream control, and alternate fingerings), which can be heard during the opening credits of Saturday Night Live.
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In order to master the qin, there are in excess of 50 different techniques that must be mastered. Even the most commonly used (such as tiao) are difficult to get right without proper instruction from a teacher. Also, certain techniques vary from teacher to teacher and school to school. There are also a lot of obsolete fingerings and notation that are rarely used in modern tablature.
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A musician playing a heckelphone-clarinet. The heckelphone-clarinet (or Heckelphon-Klarinette) is a rare woodwind instrument, invented in 1907 by Wilhelm Heckel in Wiesbaden-Biebrich, Germany. Despite its name, it is essentially a wooden saxophone with wide conical bore, built of red-stained maple wood, overblowing the octave, and with clarinet-like fingerings. It has a single-reed mouthpiece attached to a short metal neck, similar to an alto clarinet.
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Figure 1: 17-ET on the Regular diatonic tuning continuum at P5= 705.88 cents, from (Milne et al. 2007).Milne, A., Sethares, W.A. and Plamondon, J.,"Isomorphic Controllers and Dynamic Tuning: Invariant Fingerings Across a Tuning Continuum", Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32. In music, 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios).
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The modern trumpet has valves that allow it to play the same notes and fingerings as the cornet.The Technique of Orchestration, Kent Wheeler Kennan, Prentice Hall, NY, NY 1952, . Cornets and trumpets made in a given key (usually the key of B) play at the same pitch, and the technique for playing the instruments is nearly identical. However, cornets and trumpets are not entirely interchangeable, as they differ in timbre.
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Similarly, in the third octave, the E is a combination of E and A fingerings, the F is a combination of F and B, et cetera. On the oboe, third harmonics are mainly used. On clarinets, fifth harmonics are used for the first half dozen notes above (written) C6; seventh and ninth harmonics are used beyond that. For bassoons, the altissimo notes bear complicated harmonic relationships to the fundamental register.
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Gary "Stretch" Turner showing his extreme Ehlers–Danlos syndrome EDS may have contributed to the virtuoso violinist Niccolò Paganini's skill, as he was able to play wider fingerings than a typical violinist. Many sideshow performers have EDS. Several of them were billed as the Elastic Skin Man, the India Rubber Man, and Frog Boy. They included such well-known individuals (in their time) as Felix Wehrle, James Morris, and Avery Childs.
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Clarke has composed classical works for solo flute, for flute and piano and for "flute choir". His composing makes much use of extended techniques – jet whistles, timbral trills, alternative fingerings, and simultaneous singing and playing. Clarke's work to greater public attention in the UK when flautist David Smith chose to perform Clarke's composition Zoom Tube in the woodwind finals of the 2008 BBC Young Musician of the Year competition.
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379 Even a virtuoso such as Franz Liszt said that he found Fauré's music hard to play: at his first attempt he said to Fauré, "I've run out of fingers".Nectoux (1991), p. 51 Fauré's years as an organist influenced the way he laid out his keyboard works, often using arpeggiated figures, with themes distributed between the two hands, requiring fingerings more natural for organists than pianists.Jones, p. 51.
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The octave bassoon can generally only reach the written F above the bass clef (but sounding an octave higher) although professionals may be able to extend this range. The sound is thin and would not be out of place in a Renaissance or Baroque wind ensemble. Due to the somewhat smaller size and abundance of cross-fingerings, technique on the octave bassoon may be somewhat challenging for a non-professional.
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Lerwick's Zetland pipes were also intended to be a type of smallpipe that would be easy to learn and maintain, and applicable to popular folk and Celtic music. The handbook supplied with the pipes offered options for adapting different types of open or closed fingerings for the pipe, for maximum versatility, and also methods to change the modal scale of the pipe for playing different types of music.
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Wolf and Eppelsheim developed an accurate bore taper and precise keyworks in order to simplify fingerings in spite of the instrument's large size. In October 2010 Lewis Lipnick, contrabassoonist for the National Symphony Orchestra in Washington, DC, played it in a performance of Beethoven's Symphony No. 9. According to Lipnick, the other members of the orchestra, who used to make jokes about the sound of his old contrabassoon, praised the sound of the contraforte.Midgette, Anne.
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Before the Boehms reconstruction, the alto flute faced complications with inconsistent intonation, complicated cross fingerings, widely spaces holes, and general length. Earlier versions were mainly suitable for large males to play with slight discomfort. Original pieces forced musicians to stretch arms very far in order to reach left hand finger holes further from body of the tube. Given the large size, the alto flute was obsolete until Theobald Boehm's work in the mid 19th century.
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The most common sources of transcriptions for euphonium are the cornet, vocal, cello, bassoon and trombone repertoires. In each case, one can see the common threads of ease of reading and performance: cello and bassoon both customarily read in bass clef, making them easily adaptable; vocal solos are naturally suited to the singing quality of the euphonium; and in playing cornet solos the euphonist may use the same fingerings that a cornettist would.
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A 36-reed Soprano Sheng Chromatic 24- and 26-reed keyed sheng were common during the 1950s, but current models usually have 32 to 38 reeds. There are four main ranges of keyed sheng, forming a family of soprano, alto, tenor and bass. All are chromatic throughout their range, and equal tempered. They have markedly different fingering from their traditional counterparts, having been redesigned so that key changes can be achieved without cumbersome fingerings.
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The work was initially commissioned by Igor Markevitch for the Concerts Lamoureux and Mstislav Rostropovich around 1960. Occupied with other projects, Dutilleux only completed the concerto in 1970. Since Markevitch had left the Concerts Lamoureux in 1961, Rostropovich was accompanied for the premiere by the Orchestre de Paris, conducted by Serge Baudo, at the Festival d'Aix-en-Provence (25 July 1970). The cello part was edited by the Russian cellist and published with his fingerings.
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In the avertissement he states that he was responsible for the bass line (thus the figures as well) and the viol fingerings. Stylistically, they are very much influenced by Italian music and belong to the generation of Jean-Marie Leclair (1697–1764) and Jean-Pierre Guignon (1702–1774). Modern violists regard these Pieces de viole as the most virtuosic music for the instrument. Paolo Pandolfo and Lorenz Duftschmid have both recorded the complete publication.
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Figure 1: 53-EDO on the syntonic temperament's tuning continuum at 701.89, from (Milne et al. 2007).Milne, A., Sethares, W.A. and Plamondon, J.,"Isomorphic Controllers and Dynamic Tuning: Invariant Fingerings Across a Tuning Continuum", Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32. In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios).
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Lawson, pp. 31, 189 Other key systems have been developed, many built around modifications to the basic Böhm system: Full Böhm, Full Böhm System Clarinet Mazzeo, McIntyre, Includes images of booklet and fingering chart. Benade NX, and the Reform Boehm system for example. Each of these addressed—and often improved—issues of particular "weak" tones, or simplified awkward fingerings, but none has caught on widely among players, and the Boehm system remains the standard, to date.
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Keyed Shengs, on the other hand, have sequenced fingerings that allow for easy key changes. On a traditional Sheng, there are holes on the finger pipes which can be covered by the player's fingers to sound that particular note. On a keyed Sheng, the holes are opened and closed by means of keys or levers. The greater number of pipes combined with the size of the larger instruments makes it impractical to operate newer instruments without keys.
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Other messages followed claiming to be from Giuseppe Tartini, Pietro Locatelli, Karol Lipiński, Pierre Baillot, Charles Auguste de Bériot, Henri Vieuxtemps, Joseph Joachim (who was also supposed to have sent etheric messages to his relatives Jelly d'Arányi and Adila FachiriM. Willin 2005, p. 61.), Ferdinand Hérold, Édouard Lalo, Max Reger, Nikolai Rimsky- Korsakov and Edvard Grieg. While rehearsing particularly difficult Paganini études Florizel found he was compelled to adopt entirely new fingerings as if guided by an external intelligence.
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Drop D tuning is the most basic type of "drop 1" tuning, where the 6th string is tuned down a whole step (a tone). A large number of other "drop 1" tunings can be obtained simply by tuning a guitar to drop D tuning and then tuning all strings down some fixed amount. Examples are Drop D, Drop C, Drop B, Drop B, and Drop A tunings. All of these use the same fingerings as for drop D tuning.
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8-10 in the Tibor Serly edition, where William Primrose included some bowing suggestions to emphasize the syncopation of the line.Tibor Serly, 1. Overall, there are a significant amount of surface level discrepancies such as bowings, fingerings and dynamics. However, some editions contain more changes than editor markings; in the Peter Bartók revision there are measures that are added, completely missing or with note changes, which can cause several discrepancies in the performance of the piece.
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When the two keys on the tenor joint to create A4 are used with slightly altered fingering on the boot joint, B4 is created. The whisper key may also be used at certain points throughout the instrument's high register, along with other fingerings, to alter sound quality as desired. The right thumb operates four keys. The uppermost key is used to produce B2 and B3, and may be used in B4,F4, C5, D5, F5, and E5.
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The E clarinet is used in orchestras, concert bands, marching bands, and plays a particularly central role in clarinet choirs, carrying the high melodies that would be treacherous for the B clarinet. Solo repertoire is limited. The E clarinet is required to play at the top of its range for much of the time to take advantage of its piercing quality. Fingerings in that register are more awkward than on the lower part of the instrument, making high, fast passages difficult.
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"Any idea you have, you can take it up the fretboard through the different pentatonic fingerings," says Belkadi. In 2017 Belkadi co-wrote (music) "White Linen" (featuring Cyhi The Prynce) with singer-songwriter Mike Posner, Mat Musto (aka Blackbear), Cydel Young and Peter Hortaridis. This song was produced by American hip-hop duo Mike Posner and blackbear is from their studio album Mansionz (2017). He plays electric guitar on "Nobody Knows" (Mansionz) composed by Mike Posner, Musto and Soren Bryce.
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The piccolo (; Italian for "small", but named ottavino in Italy) is a half- size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written. This gave rise to the name ottavino (Italian for "little octave"), which the instrument is called in the scores of Italian composers. It is also called flauto piccolo or flautino.
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The arrangement of the tone holes on the flageolet yields a scale different from that on the whistle or recorder. Whereas the whistle's basic scale is D-E-F#-G-A-B-C#-d, the flageolet's basic scale is D-E-F-G-A-C-d. Cross- fingerings and keys are required to fill in the gaps. In the late 18th and early 19th centuries, certain English instrument makers started to make flageolets with six finger-holes on the front.
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In a 5 row chromatic, two additional rows repeat the first 2 rows to facilitate options in fingering. Chromatic button system (type C) Chromatic button system (type B) Comparing the layout to the piano accordion,Dan Lindgren, Piano Accordion vs. Chromatic Button Accordion Online PDF the advantages of a chromatic button accordion are the greater range and better fingering options.The uniform layout allows for uniform fingering and making of chords; meanwhile, the chromatic button layout also allows for alternative fingerings.
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Belgian violinist Lambert Massart. Joseph Lambert Massart (19 July 1811 - 13 February 1892) was a Belgian violinist who has been credited with the origination of the systematic vibrato. He compiled The Art of Working at Kreutzer's Etudes, a supplement that contains 412 fingerings and bowings taken from his time studying with Rodolphe Kreutzer. He was an excellent String quartet player who gave many delightful chamber concerts, having also played Beethoven's Kreutzer Sonata in A minor with Franz Liszt on 23 May 1843.
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In many regards the smaller bassoons play much like the full-size bassoon. Currently there are three sizes available from four different makers. Moosmann makes an instrument in F (a fourth higher than the normal bassoon) with simplified fingerings that descends only to low C and is intended for young children. The company Bassetto in Switzerland produces instruments in G (a fifth higher) and has an added bonus of a model with an altissimo vent in the bocal, but no whisper key.
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The xaphoon's tone sounds like a clarinet or a saxophone, and is suitable for playing music in similar genres such as jazz or klezmer, although it has also been used to play music of other traditions. It uses a standard tenor saxophone reed. The xaphoon has nine tone holes: eight holes in front, and one hole in back for the left thumb, superficially resembling those of a recorder. The xaphoon's fingerings, however, are significantly different from those of either a saxophone or recorder.
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1, March 1924; Vol. 2, June 1924), with fingerings by Harold Samuel, for the Associated Board of the Royal Schools of Music, has been reprinted continually ever since. His completion of the (presumed) final unfinished fugue in The Art of Fugue has nothing of pastiche about it, and in fact has often been recorded as the final piece of the set. His influential Essays in Musical Analysis based on his Reid Orchestra programme notes, were first published at this time, in six volumes between 1935 and 1939.
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355/967) both mention music writing systems, they were descriptive and based on lute fingerings, and thus complicated to use. No practical, indigenous system of music writing existed in the islamic world before the colonial era. Some scholars have speculated that the troubadour tradition was brought to France from al-Andalus by the first recorded troubadour, William IX of Aquitaine (d. 1126), whose father had fought in the siege and sack of Barbastro in 1064 and brought back at least one female slave singer.
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Staines has recorded 22 of his own albums, 15 of which were still in print as of 2005. Staines's songs have been published in four songbooks, If I Were a Word, Then I'd Be a Song; River; Music to Me: The Songs of Bill Staines, and All God's Critters Got a Place in the Choir. Staines is left-handed and plays a right-handed guitar upside-down, with the bass strings on the bottom. Consequently, he has developed his own fingerings and picking style.
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For a little while he was silent – then he said quietly: ::"'This was the proudest moment in my life – the inauguration to my life as artist. I tell this very rarely – and only to special friends.'" This story is somewhat more convincing, although Beethoven was just as deaf in 1822 as in 1823. It is possible, however, to speculate that Beethoven felt the vibrations of the piano with his hands as he is said to have been able to do, as well as observe Liszt's fingerings.
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During these years he also studied Carnatic music in Chennai and travelled extensively in the Balkans learning the different musical traditions. During his studies in Cologne Chisholm developed a system of micro-tonal fingerings for saxophone and so called "split-scales" which he presented on his 1996 debut solo CD Circe on Jazzhaus Musik. These scales split perfect intervals using quarter tones. His microtonal work was later featured on the Root70 album Root70 on 52nd 1/4 Street which received the German Critics Award.
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The fingering schema arises from the length of each valve's tubing (a longer tube produces a lower pitch). Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps. This scheme and the nature of the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged (standard fingering) or with valves 2–3.
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There were also bangles of British and Western Scandinavian design as well as plain, undecorated fingerings of Finnish and British design, known as ring money. Khazar coin, 800 Of the 14,295 coins found, 14,200 were Islamic dirhams, four were Nordic (from Hedeby), one was Byzantine and 23 were from Persia. The earliest, a Persian coin, dates from 539 and the latest from 870. Many of the coins (as well as the bangles) had marks that may have been made when the purity of the silver was tested.
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Erstes Buch. Tonleitern, pp. 1–12. (score) :[The following section (a) also appears in the First Edition, Part 1, Tutorial I.] :(a) Presto, pp. 1-2. ::[4 exercises using the thumb; 3 exercises not using the thumb; employ unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all] :[The following sections (b) to (e) also appear in the First Edition, Part 5, sections (d) to (g)] :(b) Allegro moderato, pp. 3-6.
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In the 1940s, Hodges played a Conn 6M (recognizable by its underslung neck) and later on a Buescher 400 (recognizable by its V-shaped bell-brace) alto saxophone. By the end of his career in the late 1960s, Hodges was playing a Vito LeBlanc Rationale alto (serial number 2551A), an instrument with unusual key-mechanisms (providing various alternative fingerings) and tone-hole placement, which gave superior intonation. Fewer than 2,000 were ever made. Hodges' Vito saxophone was silver-plated and extensively engraved on the bell, bow, body and key-cups of the instrument.
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Fingering of woodwind instruments is not always simple or intuitive, depending on how the acoustic impedance of the bore is affected by the distribution and size of apertures along its length, leading to the formation of standing waves at the desired pitch. Several alternate fingerings may exist for any given pitch. Simple flutes (including recorders) as well as bagpipe chanters have open holes which are closed by the pads of the player's fingertips. Some such instruments use simple keywork to extend the player's reach for one or two notes.
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After a harpsichord recital a reviewer observed that he "did not miss any detail in order to complete the historical legitimacy of his performance, and also produced a logical, live expressivness". After another concert the same reviewer noted his "virtuosity in the formidable 'Cadenza' of the Fifth Brandenburg Concerto", a performance which was the world's first contemporary one with Baroque fingerings. He has lived since 2001 in Ireland, where he has offered recitals and masterclasses on the interpretation of Baroque keyboard music. He is also musically active in Italy.
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31 The Albert and Oehler systems are both based on the early Mueller system. Lower joint of a Boehm system clarinet The cluster of keys at the bottom of the upper joint (protruding slightly beyond the cork of the joint) are known as the trill keys and are operated by the right hand. These give the player alternative fingerings that make it easy to play ornaments and trills. The entire weight of the smaller clarinets is supported by the right thumb behind the lower joint on what is called the thumb-rest.
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In each regular tuning, the musical intervals are the same for each pair of consecutive strings. Other regular tunings include all-fourths, augmented- fourths, and all-fifths tunings. For each regular tuning, chord patterns may be moved around the fretboard, a property that simplifies beginners' learning of chords and advanced players' improvisation. In contrast, chords cannot be shifted around the fretboard in standard tuning, which requires four chord- shapes for the major chords: There are separate fingerings for chords having root notes on one of the four strings three–six.
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Figure 1: 31-ET on the regular diatonic tuning continuum at P5= 696.77 cents, from (Milne et al. 2007).Milne, A., Sethares, W.A. and Plamondon, J., "Isomorphic Controllers and Dynamic Tuning: Invariant Fingerings Across a Tuning Continuum", Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32. In music, 31 equal temperament, 31-ET, which can also be abbreviated 31-TET (31 tone ET) or 31-EDO (equal division of the octave), also known as tricesimoprimal, is the tempered scale derived by dividing the octave into 31 equal-sized steps (equal frequency ratios).
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NAF Scales for the Native American Flute, Clint Goss Also, modern flutes are generally tuned in concert keys (such as A or D) so that they can be easily played with other instruments. The root keys of modern Native American flutes span a range of about three and a half octaves, from C2 to A5. Native American flutes most commonly have either 5 or 6 holes, but instruments can have anything from no holes to seven (including a thumb hole). Various makers employ different scales and fingerings for their flutes.
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Some players would come > backstage and wonder if we were fighting, because our bowings were > different. We were unorthodox from the beginning, having a strong notion > that we should play as best we can individually in our own comfort zone in > terms of bowings and fingerings and so forth. In its early years, the Guarneri's repertoire focused primarily on music of 18th and 19th century composers, and they became particularly known for their interpretations of Beethoven’s quartets. However, by the 1980s the quartet was incorporating more music from the 20th century in its programs.
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In addition to the traditional "Baroque" (or "English") fingering, which was created in Haslemere in 1919 by Arnold Dolmetsch soprano recorders have been made that make use of "German" fingering, which was introduced by Peter Harlan around 1926. In German fingering the note f2 is playable with a simpler fingering than the Baroque technique's forked (or cross-) fingering. However, German fingering has been described as a "step backwards ... made on the false assumption that the instrument would be easier for schoolchildren". The disadvantage is that other, unavoidable cross-fingerings become more difficult .
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Except for woodwind players, who prefer ledger lines to 8va notation because they associate fingerings with staff positions , notes that use at least four ledger lines make music more difficult to read. For easier readability, the composer would usually switch clefs or use the 8va notation. Some transposing instruments, such as the piccolo, double bass, guitar, and the tenor voice, transpose at the octave to avoid ledger lines. Notation of tuba, trombone, and euphonium parts always use ledger lines below the bass staff, and never the 8va bassa notation .
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Isomorphic keyboards can expose, through their geometry, two invariant properties of music theory: # transpositional invariance,Keislar, D., History and Principles of Microtonal Keyboard Design, Report No. STAN-M-45, Center for Computer Research in Music and Acoustics, Stanford University, April 1988. exposed in all isomorphic layouts by definition. Any given sequence and/or combination of musical intervals has the same shape when transposed to another key, and # tuning invariance,Milne, A., Sethares, W.A. and Plamondon, J., Invariant Fingerings Across a Tuning Continuum, Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32.
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On the Boehm system flute, the first altissimo note, D6, is played using the third harmonic of G4. Fourth harmonics are used for D6 through G6, and notes from A6 through C7 are played with fifth or sixth harmonics. A careful examination of the flute fingering for the notes D6 through G6 reveals that they are actually a combination of third and fourth harmonic fingerings. For example, the D fingering is like the low D4 with the addition of the G key vented, for which D6 is the third harmonic.
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Reinhardt was attracted to music at an early age, first playing the violin. At the age of 12 he received a banjo-guitar as a gift. He quickly learned to play, mimicking the fingerings of musicians he watched, who would have included local virtuoso players of the day such as Jean "Poulette" Castro and Auguste "Gusti" Malha, as well as from his uncle Guiligou, who played violin, banjo and guitar. Reinhardt was able to make a living playing music by the time he was 15, busking in cafés, often with his brother Joseph.
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Meinecke developed an interest in jazz at the age of 12, which led him to start collecting records. When his father gave him a clarinet as a gift at the age of 19, he took a few lessons to learn basic fingerings, then immediately began to play by ear and to improvise. Between 1932 and 1943 he home-recorded a series of acetates with a "slinky sound and bottomless trove of melodic ideas". Later, after moving to Chicago, Meinecke would study composition under American Five composer John J. Becker.
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Most tenor bassoons have a somewhat simplified fingering system with most of the alternate keys on the butt joint removed for space reasons. A light and narrow bassoon reed is preferred on the tenor bassoon so that a wholly different reed is not needed. However a shorter and narrower reed will tend to favor the higher notes. The upper-register fingerings are somewhat different from the bassoon and in scale it can only ascend to B (although their response is questionable, a B and C, and even C and D, are possible).
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Surprisingly, Wayne's approach reveals many chord forms that are comfortable to play but rarely seen, except in classical guitar fingerings. This is particularly true of inversions that begin on the third or sixth/seventh, and also of certain split and spread voicings. In Wayne's heyday, experienced guitarists were often puzzled to watch him playing chord shapes that they didn't even recognize, chords with subtle differences from the norm. Wayne's novel strategy gave him an exceptionally wide harmonic palette, helping him avoid the sameness often found in the playing of guitarists - even some great ones.
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Song arrangements may cite capo position just as they cite alternative tunings. When referencing fingerings for a song that uses a capo, the player determines whether the chart references absolute finger positions, or positions relative to the capo. In tablature, for example, a note played on the fifth fret of an instrument capoed at the second fret can be listed as "5" (absolute) or "3" (relative to capo). Similarly, a D-shaped chord can be referred to as "D" (based on the shape relative to the capo), or E (based on the absolute audible chord produced).
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The most widely played purely digital wind controllers include the Yamaha WX series and the Akai EWI series. These instruments are capable of generating a standard MIDI data stream, thereby eliminating the need for dedicated synthesizers and opening up the possibility of controlling any MIDI- compatible synthesizer or other device. These instruments, while shaped something like a clarinet with a saxophone-like key layout, both offer the option to recognize fingerings for an assortment of woodwinds and brass. The major distinction between the approach taken by the two companies is in the action of their keys.
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They are characterized by smooth, competent imitative writing in two and three voices. Occasionally Narváez resorts to using short motifs with identical left hand fingerings, probably reflecting the techniques he used for improvisation. The music reflects the influence of Francesco da Milano, whose works Narváez collected. The third volume of the collection is dedicated exclusively to intabulations of works by other composers: selections from masses by Josquin des Prez, the famous song Mille Regretz by the same composer (subtitled "La canción del Emperador", probably suggesting that it was Charles V's favorite song), and two songs by Nicolas Gombert and one by Jean Richafort.
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Hinds performing in 2009 Originally playing the banjo, Hinds learned his "signature style" of fast hybrid picking by emulating banjo fingerings on guitar. He frequently utilizes the minor pentatonic, natural minor, and the harmonic minor scales in his playing as well as many hammer-ons, pull-offs, and legato slides. Hinds grew up listening to country, but when he entered his late teens he started listening to Neurosis and Melvins, bands that would have a profound influence on his musicianship. Hinds has also stated that he is a big fan of the progressive and psychedelic rock genres, especially from the '70s.
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Gentil helped train many pianists including Jean Micault, Gail Delente, Pierre Froment, Marie-Catherine Girod, Ramzi Yassa, Seth Carlin, David Lively, Michel Sogny, and also composers such as Alain Weber, André Mathieu, and Alain Bernaud. According to his students' accounts, his teaching was turned towards the research of gestures allowing an easy execution, if necessary with unconventional fingerings, giving importance to the role of shoulders and arms, by bringing a particular care to the pedal. He did hardly any scale or exercise work, and thus moved away from the habits of his time in French piano teaching.
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Closing the hole increases the effective length and lowers the pitch again. However, a pipe with a closed tone hole is not acoustically identical to a pipe with no hole; the shape of the fingertip or pad that closes the hole modifies the pipe's internal volume and effective length. When there are multiple tone holes, the first (closest to the blowing end) open tone hole usually has the largest influence on the pipe's effective length. However, closing holes below the first open hole without closing the first hole can also lower the pitch significantly; such cross fingerings may often be useful.
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The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions on the score, Berio writes, For much of the piece, Berio notates measures in seconds instead of bars, although there are some sections of the work that use traditional rhythmic notation. The piece calls for various forms of advanced and extended technique, including using five alternate fingerings for one note in a single measure, multiphonics, double tonguing, trills on multiple notes at a time, overblowing, flutter-tonguing, traditional harmonics, and microtonal trills. Jacqueline Leclair breaks down the piece into three sections.
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As a result, players choose fingerings which result in few shifts, or small "creeping" shifts. They choose their moments for shifting carefully, using open strings and points of articulation in the music where changes of position in the left hand can be made inaudibly. While in the Romantic period audible shifts are often used (portamento and glissando) these are absent from Baroque playing. Some Baroque sources indicate the deliberate use of a higher position on a lower string, typically for a piano or misterioso effect, but low positions are preferred on the whole for greater sonority.
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On 2 October 2005, Fleisher played the American premiere of the work, with the San Francisco Symphony conducted by Herbert Blomstedt. After the premiere, autographs of the piano part and the orchestral score which Wittgenstein had used were found in the manuscript collection of Arthur Wilhelm (1899-1962), a national economist from Basel, which entered his collection at an unknown time. Fingerings in the autographs by Wittgenstein proved that he had not rejected the work immediately, but after having studied the music. The material was transferred to the Paul Sacher Foundation, making it available to researchers.
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With three symphonies transcribed, Liszt set aside the work for another 23 years. It was not until 1863 that Breitkopf & Härtel suggested to Liszt that he transcribe the complete set for a future publication. For this work, Liszt recycled his previous transcriptions by simplifying passages, stating that "the more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value". He would note down the names of the orchestral instruments for the pianist to imitate, and also add pedal marks and fingerings for amateurs and sight readers.
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This can be especially useful for songs in the keys of D major or minor and is particularly effective on acoustic guitar. Drop D also allows fingerpickers to play chord shapes higher up the neck while maintaining an alternating bass. The bottom three strings, if left open, will vibrate sympathetically and, using chord shapes limited to the top three strings, a drone effect can easily be achieved. The trade-off is the loss of the open bass E note in chords or fingerings, which the player can adjust to include fretting the sixth string at the second fret (now E).
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"Normal" stringing shown here; some players reverse the G and C. First position viola fingerings The viola's four strings are normally tuned in fifths: the lowest string is C (an octave below middle C), with G, D and A above it. This tuning is exactly one fifth below the violin, so that they have three strings in common—G, D, and A—and is one octave above the cello. Each string of a viola is wrapped around a peg near the scroll and is tuned by turning the peg. Tightening the string raises the pitch; loosening the string lowers the pitch.
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Vetter was born in Oberstdorf in the Allgäu region of Germany, and received a conventional school education. He adopted the recorder as his preferred instrument, and began experimenting in the late 1950s with its timbres and techniques, such as multiphonics and microtones. He inspired composers such as Louis Andriessen, and Rob du Bois in the Netherlands, Sylvano Bussotti in Italy, and Mauricio Kagel and Karlheinz Stockhausen in Germany to use the instrument in their compositions. His technical discoveries were codified in a text, Il flauto dolce ed acerbo (The Sweet and Sour Flute, 1969), which included tables of some 2000 fingerings (; ; ).
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The caches contained silver objects ranging from coins, bars, thread and hacksilver to be used as raw material, to jewelry such as fingerings, bangles and pendants. Much of the material had been bundled up to correspond with the mark-weight system of the Viking Age, in which made one mark. Almost 60% of the find consisted of 486 bangles or parts thereof, making it the largest ever find of such silver jewellery . Most of the bracelets weighed around 100 grams under the mark-weight system and were of traditional Gotlandic design, a number of them have very detailed ornamentation.
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The "cake" from the bronze cache Excavated in the same manner as the silver hoards, the bronze cache was encapsulated on site and transported to the Gotland Museum for further examination. The objects were removed layer after layer from top to bottom until the large melted 'cake', about in diameter was uncovered. Most of the bronze objects were broken, fragmented or partially melted, suggesting that they were kept in the heartwood chest to be used as raw material for new artifacts. Individual finds consisted of parts of, and some complete, necklaces, bangles, fingerings, pins for clothes and mounts for drinking horns.
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Sechs Klavierübungen und Präludien (der Klavierübung erster Teil.) (score) : I. [Scales] :[exercises and pieces employing unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all] ::[The following two sections, (a) and (b), also appear in the Second Edition, Book 1 (Scales)] ::(a) Presto, pp. 3-4. :::[4 exercises using the thumb; 3 exercises not using the thumb] ::(b) [2 exercises with hands in contrary motion], pp. 4-5. ::[The following three sections, (c) to (e), are omitted in the Second Edition.] ::(c) (Nach Liszt.) Allegro, p. 5.
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The conductor John Foulds lamented in 1934 the dominance of the Heckel-style bassoon, considering them too homogeneous in sound with the horn. The modern Buffet system has 22 keys with its range being the same as the Heckel; although Buffet instruments have greater facility in the upper registers, reaching E5 and F5 with far greater ease and less air resistance. Compared to the Heckel bassoon, Buffet system bassoons have a narrower bore and simpler mechanism, requiring different, and often more complex fingerings for many notes. Switching between Heckel and Buffet, or vice versa, requires extensive retraining.
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The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt.Guitar arpeggio dictionary, Chuck Wayne and Ralph Patt 1965 Henry Adler Publishing NYC His arpeggios are derived from the rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides the characteristic legato sound of Chuck Wayne. Combined with the consecutive- alternate picking, the arpeggios resemble harp-like flows.
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"Epistrophy" (initially called "Fly Rite" or "Iambic pentameter") was co-written with Kenny Clarke, and was copyrighted on June 2, 1941, and was the first tune copyrighted by Monk. It is a relatively atonal 32-bar tune in ABCB-form, though the key center is C. The main melodic theme was composed by Clarke, after experimenting with fingerings on the ukulele, and the chords were written by Monk. The title "Epistrophy" is not a word in any dictionary. However, the word "epistrophe" is defined by Merriam- Webster as "the repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect".
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Computone Wind Synthesizer Controller (essentially, Lyricon II without synthesizer) The first widely played wind controller was the Lyricon from Computone which came about in the 1970s era of analog synthesizers. The Lyricon was based on the fingerings of the saxophone and used a similar mouthpiece. It set the standard for hardware-based wind controllers with a number of features that have been preserved in today's MIDI wind controllers, including the ability to correctly interpret the expressive use of reed articulation, breath-controlled dynamics, and embouchure- controlled pitch variation. The Lyricon also expanded the playing range several octaves beyond the accustomed range for woodwind players.
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After the Synthophone, several other MIDI saxes have been released that offer real sax fingerings: in 2019 the Travel Sax by Odisei Music, and in 2020 the YDS-150 digital saxophone by Yamaha. These MIDI saxes have sensors for breath pressure to adjust the volume, but they do not read lip pressure and thus do not allow the pitch to be controlled by the embouchure or by the manner of breathing. With the YDS-150, pitch bend can be achieved using a separate input on the instrument. Both the Travel Sax and the YDS-150 provide for settings customisation using a Bluetooth-connected mobile app.
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Alfred Hoehn published a large part of the piano sonatas, sonatines, as well as individual piano pieces and variation works by Ludwig van Beethoven for the Edition Schott. This is an original text, which however does not reach today's standard. Its fingering is in the tradition of older pianism, as can be seen in the editions of Hans von Bülow, Eugen d'Albert, Ferruccio Busoni or Alfred Cortot. This means that the fingering is primarily intended to help adequately represent the musical content of the work of art (articulation, phrasing) and that purely technical questions, such as facilitating difficult passages by means of suitable fingerings or arrangements, are secondary.
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Multiphonics may be notated in score in a variety of ways. When exact pitches are specified, one method of notation is simply to indicate a chord, leaving the performer to figure out what techniques are necessary to achieve it. Common on woodwind music is to specify a particular fingering underneath the required note; as different fingerings produce different qualities of sound, a composer who is concerned about the precise effect created may wish to do this. (The same fingering can cause different result on instruments from different manufacturers, due to variations in construction.) Approximate pitches may be specified by wavy lines or in cluster notation to designate acceptable ranges of sound.
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The song's bass guitar part is unique in that backing bassist Tony Levin and then-backing drummer Jerry Marotta teamed up for the main bassline. Using one of Levin's fretless basses, Levin handled the fingerings while Marotta hit his drumsticks on the strings, which is why the bass part sounds percussive. Inspired by this sound, Levin later invented funk fingers, which were little drumstick ends that could be attached to the fingers to achieve a similar bass guitar effect in concert. Police drummer Stewart Copeland plays drums on the song, and P. P. Arnold, Coral "Chyna Whyne" Gordon, and Dee Lewis, all of whom also sang on "Sledgehammer", performed backing vocals.
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His work is strongly influenced by traditional Scottish folk music; in particular, he has utilised the heterophonic style of Gaelic psalm-singing, and the piobaireachd form; he varies melodies through ornamentation, as in traditional pibroch, and in their contour; he modifies instruments' tone- colours through alternative fingerings. He has a strong regard for the music of Leoš Janáček. He has also addressed the reconciliation of classical and traditional music with jazz, using improvisational techniques and sometimes combining the two idioms. He has been influenced by ancient Greek poetry, and Indian and Arab traditions in his use of ostinato and other techniques of varied repetition.
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The alto saxophone, also referred to as the alto sax or simply the alto, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E, and is smaller than the tenor, but larger than the soprano. The alto sax is the most common saxophone and is commonly used in popular music, concert bands, chamber music, solo repertoire, military bands, marching bands, and jazz (such as big bands, jazz combos, swing music). The fingerings of the different saxophones are all the same so a saxophone player can play any type of saxophone.
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Almost all piccolo trumpets have four valves instead of the usual three — the fourth valve lowers the pitch, usually by a fourth, to assist in the playing of lower notes and to create alternate fingerings that facilitate certain trills. Maurice André, Håkan Hardenberger, David Mason, and Wynton Marsalis are some well-known trumpet players known for their additional virtuosity on the piccolo trumpet. Trumpet in C with rotary valves Trumpets pitched in the key of low G are also called sopranos, or soprano bugles, after their adaptation from military bugles. Traditionally used in drum and bugle corps, sopranos have featured both rotary valves and piston valves.
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Warsaw Castle, Poland. Using standard fingerings and technique, the lowest note is the written F below Middle C. There is no actual limit to how high brass instruments can play, but fingering charts generally go up to the high C two octaves above middle C. Several trumpeters have achieved fame for their proficiency in the extreme high register, among them Maynard Ferguson, Cat Anderson, Dizzy Gillespie, Doc Severinsen, and more recently Wayne Bergeron, Thomas Gansch, James Morrison, Jon Faddis and Arturo Sandoval. It is also possible to produce pedal tones below the low F, which is a device occasionally employed in the contemporary repertoire for the instrument.
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A picture of Sonny with this banjo appears in Pete Wernick's Bluegrass Banjo method book.Wernick, Pete; Bluegrass Banjo; Oak Publications; Oakland, California: 1992, p. 27. 0-825-60148-7 Six-string banjos known as banjo guitars basically consist of a six-string guitar neck attached to a bluegrass or plectrum banjo body, which allows players who have learned the guitar to play a banjo sound without having to relearn fingerings. This was the instrument of the early jazz great Johnny St. Cyr, jazzmen Django Reinhardt, Danny Barker, Papa Charlie Jackson and Clancy Hayes, as well as the blues and gospel singer Reverend Gary Davis.
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The large circular key, otherwise known as the "pancake key", is held down for all the lowest notes from E2 down to B1. It is also used, like the whisper key, in additional fingerings for muting the sound. For example, in Ravel's "Boléro", the bassoon is asked to play the ostinato on G4. This is easy to perform with the normal fingering for G4, but Ravel directs that the player should also depress the E2 key (pancake key) to mute the sound (this being written with Buffet system in mind; the G fingering on which involves the Bb key – sometimes called "French" G on Heckel).
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He knows also that this > player is endowed with the rarest jazz gift of all, a sense of form which > lends to an improvised performance a coherence which no amount of teaching > can produce. The listening musician, whatever his generation or his style, > recognizes Bix as a modern, modernism being not a style but an > attitude.Green, p. 34 Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life.
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Wind instruments manipulate the overtone series significantly in the normal production of sound, but various playing techniques may be used to produce multiphonics which bring out the overtones of the instrument. On many woodwind instruments, alternate fingerings are used. "Overblowing", or adding intensely exaggerated air pressure, can also cause notes to split into their overtones. In brass instruments, multiphonics may be produced by singing into the instrument while playing a note at the same time, causing the two pitches to interact - if the sung pitch is at specific harmonic intervals with the played pitch, the two sounds will blend and produce additional notes by the phenomenon of sum and difference tones.
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Compared with the bassoon, the contrabassoon has much greater difficulty producing notes with stability and projection in the (written) range corresponding to the top octave on bassoon. Its fingerings for this register are also completely different to the bassoon, because the contrabassoon has a different harmonic series and a simpler fingering system. Scoring for it very seldom calls for notes above written-pitch F or G above the bass staff, and the higher clefs are therefore seldom required. The instrument is twice as long as the bassoon, curves around on itself twice and, due to its weight and shape, is supported by an endpin rather than a seat strap.
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He has premiered works by composers including Ben Johnston, Salvatore Martirano, Joji Yuasa, Roger Reynolds, Hiroyuki Itoh, and Paul Koonce. He is a member of the Tone Road Ramblers, the Eolus Quintet, and the UCSD Department of Music's Performance Lab. Fonville is the author of Microtonal Fingerings for Flute (1987), A Pedagogical Approach to the Flute Etudes of Joachim Andersen (1981), and "Ben Johnston's Extended Just Intonation: A Guide for Interpreters" (1991). John Fonville is the flute player, and is listed as such, on the recording credits for the theme song of the movie "Shaft", recorded by Isaac Hayes in 1971 at Stax Studio, Memphis, TN. This is the version used for the 50th anniversary celebration recording in 2007.
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Williams has expressed his frustration and concern with guitar education and teaching, if it is too one-sided, e.g. focusing only on solo playing, instead of giving guitar students a better education including ensemble playing, sight-reading and a focus on phrasing and tone production and variation. Williams notes that "students [are] preoccupied with fingerings and not notes, much less sounds"; some are able "to play [...] difficult solo works from memory", but "have a very poor sense of ensemble [playing] or timing". He notes that students play works from the solo repertoire that are often too difficult, so that the teachers often put more "emphasis [...] on getting through the notes rather than playing the real substance of each note".
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The baritone is pitched in concert B, meaning that when no valves are actuated, the instrument will produce partials of the B harmonic series. Music for the baritone horn can be written in either the bass clef or the treble clef. When written in the bass clef, the baritone horn is a non-transposing instrument. However, when written in the treble clef, it is often used as transposing instrument, transposing downward a major ninth from the music as written, so that written middle C for the baritone is concert B below low C (B2 in scientific pitch notation), with the fingerings thus matching those of the trumpet but sounding an octave lower.
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False Notes : A recent term describing cross fingerings on the Highland bagpipe, used to create notes such as C natural that were not traditionally extant on the instrument. False Fingering : A Highland bagpipe term describing an error of fingering, typically where the player has not realised they have not lifted or replaced fingers after a particular note. Ferrule : A band made of ivory, imitation ivory, or metal, such as brass, copper or silver, mounted around the ends of stocks, drone joints and blowpipes to be both decorative and to protect the wood from damage. Flap Valve : A device that keeps air from backing out of a blowpipe when the piper takes a breath.
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Each tutorial begins with exercises and moves on to short original pieces and adaptions or transcriptions of excerpts from the repertory. For instance, the first tutorial starts with traditional scales (although the fingerings are unorthodox), then adds two excerpts which require power and speed: the first is from Liszt's Totentanz, and the second is based on two bars in Busoni's "Turandots Frauengemach" [Turandot's Bedchamber] (Book 4 from Elegien, BV 249). This is followed by two original compositions: a 16-bar "Tempo di Valse" and a 33-bar "Preludio," both of which emphasize legato scales at moderate speed. Busoni frequently lists at the bottom one or more pieces from the repertoire as examples (in German: Beispiele) suitable for further study.
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Traditional British-style brass band parts for the tuba are usually written in treble clef, with the B tuba sounding two octaves and one step below and the E tuba sounding one octave and a major sixth below the written pitch. This allows musicians to change instruments without learning new fingerings for the same written music. Consequently, when its music is written in treble clef, the tuba is a transposing instrument, but not when the music is in bass clef. The lowest pitched tubas are the contrabass tubas, pitched in C or B, referred to as CC and BB tubas respectively, based on a traditional distortion of a now-obsolete octave naming convention.
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In contrast to many of the Anglo-American rural fiddlers, most blues fiddlers adopted a semi-classical posture, holding the instrument high on the shoulder and gripping the bow at the frog rather than over the hair. Right-hand technique employed heavy on-string bowing, limited string crossings and bowed tremolo. Left-hand technique emphasized simple fingerings, slid into third and fifth positions, and used few or no fingered ornaments such as trills and turns. Though orchestral violin playing uses varied techniques, the position is usually very regal in a sense; the performer is meant to sit up on the edge of their seat, with the violin sitting on a shoulder rest and more often than not, right out of their periphery.
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These influences also enriched her writing for acoustic instruments as in "Study of the Object no V" (1970) for unaccompanied voices, a graphic score she calls sound sculpture, "Mestra" (1979–80) for solo flutes and "Hunting Horns are Memories" (1977) for horn and tape for which she worked out quarter tone fingerings for the F/B flat double horn. How time passes is also intrigues her and she has experimented with polymetric and polytempi music. Janet Beat is included in the British Music Collection archive at Heritage Quay, Huddersfield. She is an Honorary Research Fellow of the School of Culture & Creative Arts at the University of Glasgow and an Affiliate of the Hunterian Museum and Art Gallery as a Curatorial Consultant.
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Gaining popularity as a folk instrument in the early 19th century Celtic music revivals, penny whistles now play an integral part of several folk traditions. Whistles are a prevalent starting instrument in English traditional music, Scottish traditional music and Irish traditional music, since they are usually inexpensive; relatively easy to play, free of tricky embouchure such as found with the transverse flute; and use fingerings are nearly identical to those on traditional six-holed flutes, such as the Irish flute and the Baroque flute. The tin whistle is a good starting instrument to learn the uilleann pipes, which has similar finger technique, range of notes and repertoire. The tin whistle is the most popular instrument in Irish traditional music today.
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Wolfe Since the size and direction of the tin whistle's windway is fixed, like that of the recorder or fipple flute, it is necessary to increase the velocity of the air stream. (See overblowing). Fingering in the second register is generally the same as in the first/fundamental, though alternate fingerings are sometimes employed in the higher end of the registers to correct a flattening effect caused by higher aircolumn velocity.Gross Also, the tonic note of the second register is usually played with the top hole of the whistle partially uncovered instead of covering all holes as with the tonic note of the first register; this makes it harder to accidentally drop into the first register and helps to correct pitch.
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For these notes, the other fingers of the right hand can open a few more tone holes that are relatively closer to the mouthpiece than to the bell. Some instruments were made with between one and three extra right hand keys to provide better intonation for specific notes in this register. The right hand keys may also be used in the upper registers as alternate fingerings to facilitate faster passages or to improve intonation. With the exception of these special few pitches in the low octave, the combinations of partials on various sets of opened tone holes results in the left hand fingers going through something very similar to what they would be doing to manipulate the valves on a modern brass instrument.
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His most famous book, L'art de toucher le clavecin ("The Art of Harpsichord Playing", published in 1716), contains suggestions for fingerings, touch, ornamentation and other features of keyboard technique. Couperin's four volumes of harpsichord music, published in Paris in 1713, 1717, 1722, and 1730, contain over 230 individual pieces, and he also published a book of Concerts Royaux which can be played as solo harpsichord pieces or as small chamber works. The four collections for harpsichord alone are grouped into ordres, a synonym of suites, containing traditional dances as well as pieces with descriptive titles. They are notable for Couperin's detailed indication of ornaments, which in most harpsichord music of the period was left to the discretion of the player.
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Chanting the Light of Foresight (imbas forasnai) is a 1987 composition by Terry Riley written for and commissioned by the Rova Saxophone Quartet, though during the course of the composition it was decided that Rova would compose "The Chord of War" and "The Pipes of Medb/Medb's Blues" contains improvisation. The piece is based on the Taín Bó Cuailnge (The Cattle Raid of Cooley, translated by Thomas Kinsella), a part of the eighth-century Ulster Cycle of heroic tales. The work is partly in resonant intonation, requiring false fingerings, jaw manipulations, and straining the lips and lungs, and contains many unusual time signatures. "The Tuning Path" and "The Pipes of Medb" progresses from simple to more complex areas of tuning, statically depicting night on the battlefield.
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While a truly characteristic euphonium sound is rather hard to define precisely, most players would agree that an ideal sound is dark, rich, warm, and velvety, with virtually no hardness to it. This also has to do with the different models preferred by British and American players. Though the euphonium's fingerings are no different from those of the trumpet or tuba, beginning euphoniumists will likely experience significant problems with intonation, response and range compared to other beginning brass players. In addition, it is very difficult for students, even of high-school age, to develop the rich sound characteristic of the euphonium, due partly to the instrument models used in schools and partly to the lack of awareness of good euphonium sound models.
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In addition, older bass clarinets have two register keys, one for middle D and below, the other for middle E and higher. Newer models typically have an automatic register key mechanism, where a single left thumb key commands the two vent holes. Depending on whether the right hand ring finger (used in fingerings for middle D and below) is down or up, the lower or upper vent hole will open. Many professional or advanced bass clarinet models extend down to a low C (sounding B, identical to the bassoon's lowest B), two octaves below written middle C. At concert pitch this note is the B below the second ledger line below the bass staff or B1 in scientific pitch notation.
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His works are best known for their sensitivity and fine tonality, their emotional resonance and deep sonority. Several of his works are quite demanding in terms of technical performance, especially in terms of left and right hand coordination, and with complicated fingerings and frequent complex bowing techniques. Much subtlety is required to achieve virtuosity in the performance of several of his pieces, for while he assimilated elements of Italian style, there is also a rich French flavour in his musical discourse and its subtlety.Comments by Erik Kocevar, Dijon, August 2001, adapted by Mary Pardoe, for a CD recording Alpha 015 of his Sonatas by Bruno Cocset and Les Basses Réunies, chapelle de l'Hôpital Notre Dame de Bons Secours, Paris, October 2000.
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Proof sheet of Étude Op. 10, No. 2 with fingerings in Chopin's handwriting, 1833 The technical novelty of this étude is the chromatic scale to be played by the three outer fingers of the right hand together with short semiquaver notes to be played by the first and second fingers of the same hand and the difficulty is to do this evenly in piano and legato at the required tempo of M.M. 144. Other piano composers before Chopin, such as Ignaz Moscheles (1794–1870) in his Études Op. 70,Moscheles, Ignaz. Studien für das Pianoforte zur höheren Vollendung bereits ausgebildeter Klavierspieler, bestehend aus 24 charakteristischen Tonstücken in verschiedenen Dur- und Molltonarten. Leipzig: H. A. Probst, 1827, reprint Kistner, 1860, No. 3, G major, p. 20.
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The rationale underlying a composer's choice between E and D clarinet is often difficult to discern and can seem perverse, especially when the option not chosen would be easier for the player to execute. For instance, the original version of Arnold Schoenberg's Chamber Symphony No. 1 is for E clarinet while the orchestral version is for D. Certain passages of Maurice Ravel's Daphnis et Chloe are set in concert D but are scored for E clarinet, with the effect that some fingerings in those passages are extremely difficult on the E-flat clarinet, which is forced to play in its B major, but would be much easier on a D clarinet, which would play in its C major. Another famous example is the D clarinet part of Richard Strauss's Till Eulenspiegels lustige Streiche.
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Cello first position fingerings Fingered music for guitar: the numbers 1 to 4 indicate the stopping fingers, 0 an open note, circled numbers strings, and dashed numbers slipping On string instruments fingers are numbered from 1 to 4, beginning with the index finger, the thumb not being counted because it does not normally play on a string, and 0 indicating an open string. In those cases on string instruments where the thumb is used (such as high notes on a cello in thumb position), it is represented by a symbol the shape of an O with a vertical stem below(somewhat similar to Ǫ or ϙ, for instance). Guitar music indicates thumb, occasionally used to finger bass notes on the low E string, with a 'T'. Position may be indicated through ordinal numbers (e.g.
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There was no truth to a rumour that the two men had any sort of falling out over the matter. Wihan did perform the concerto in The Hague (under Willem Mengelberg, or Dvořák), Amsterdam and Budapest (the last under the composer's baton), and he took part in the premiere of Dvořák's G major Quartet, Op. 106, that year. Dvořák's original score, before it was altered with Wihan's suggested changes, has been described as "much more musical", and this version has been performed from time to time.Dimitry Markevitch, Some Thoughts on More Rational Cello Fingerings Wihan had been playing with the Czech String Quartet for some years, and in the latter stages of his career he reduced his appearances as soloist and chamber musician and appeared with the Quartet exclusively.
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Nicholson used a flute made by George Astor & Co., a London-based firm operating from c1778 to c1831. His father, also a celebrated flautist, modified the instrument, lining the headpiece with metal, enlarging the embouchure and toneholes with a view to making the flute's tone more powerful, yet still delicate, permitting the usual fingerings in the third octave, facilitating glidesa glide — a portamento done by more-or-less slowly sliding one or more fingers off their holes and vibratos. Once his bravura style on the modified flute had become accepted in London, he licensed several London flute makers such as Clementi & Co., Astor, Rudall and Rose, and Potter to produce the 'Nicholson's Improved'. The structure of his new flute favoured flat keys such as E flat, A flat, and F and C minor.
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According to his students and colleagues, Pullman was a visionary musician; his desire for a kind of revelatory ensemble playing led him to make use of the widest possible range of string tone, to demand a perfect legato, and to search out highly unorthodox fingerings to match his conceptions of phrasing. Rehearsals were intense and long -- however, they functioned as rolling all-day affairs where members came and went as their schedules permitted. Through his pupils Felix Galimir, Richard Goldner, and others, his ideas influenced the training of generations of chamber music performers in the U. S., Australia (Musica Viva Australia), and elsewhere. In August 1939, he visited Warsaw, Poland, in an attempt to sell a house belonging to his wife, and was trapped there by the German invasion.
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Specific terms for notes produced by various combinations of covered/uncovered holes are provided by Korean musical theory, imported and adapted from Chinese musical theory. The western note designations provided below are approximate. #Upper five frontal fingerholes covered: Im (임,林), approximately B #Upper four frontal fingerholes covered: Nam (남,南), approximately C #Upper three frontal fingerholes covered: Mu (무,無), approximately D #Upper two frontal fingerholes covered: Hwang 황,黃), approximately E #Upper one frontal fingerhole covered: Tae (태,太), approximately F #No frontal fingerholes covered: Jung (중,仲) or Go (고), approximately G/A Upper octave notes share the same names, although they assume different roles and functions from lower octave notes within melodic constructions. Identical or similar tones may be produced with a variety of different fingerings.
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While bassoons are usually critically tuned at the factory, the player nonetheless has a great degree of flexibility of pitch control through the use of breath support, embouchure, and reed profile. Players can also use alternate fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch. On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) but it is possible to push the bocal in or out slightly to grossly adjust the pitch.
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The term "false fingering" is used in instruments such as woodwinds, brass, and stringed instruments where different fingerings can produce the same note, but where the timbre or tone quality is distinctly different from each other. For example, on a guitar, the same note played on a wound string will sound significantly different than one played on a solid wire string, so playing the same note on different strings in short succession can accentuate the different tone colors without actually changing the note. When the note is played in such a way as to draw the distinction from the expected tone quality (which will vary depending on the exact musical passage it appears in) it is often called a "false fingering". The technique is common in jazz contexts, especially on wind instruments such as the saxophone.
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Example of an A-4-style mandolin (oval hole) The mandolin has become a common instrument amongst Irish traditional musicians. Fiddle tunes are readily accessible to the mandolin player because of the equivalent range of the two instruments and the practically identical (allowing for the lack of frets on the fiddle) left hand fingerings. Although almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian- style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear.
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Acoustic guitar The guitar is not traditional in Irish music but has become widely accepted in modern sessions. These are usually strummed with a plectrum (pick) to provide backing for the melody players or, sometimes, a singer. Irish backing tends to use chord voicings up and down the neck, rather than basic first or second position "cowboy chords"; unlike those used in jazz, these chord voicings seldom involve barre fingerings and often employ one or more open strings in combination with strings stopped at the fifth or higher frets. Modal (root and fifth without the third, neither major nor minor) chords are used extensively alongside the usual major and minor chords, as are suspended and sometimes more exotic augmented chords; however, the major and minor seventh chords are less employed than in many other styles of music.
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Diruta's major work is a treatise in two parts on organ playing, counterpoint, and composition, entitled Il Transilvano (The Transylvanian) published for the first time in 1593; it is in the form of a dialog with Istvan de Josíka, a diplomat from Transylvania whom Diruta met during one of Josíka's missions to Italy. It is one of the first practical discussions of organ technique which differentiates organ technique from keyboard technique on other instruments. His fingerings largely follow the usual ones of his times: for example, his fingering for a C major scale never includes the thumb, and crosses the middle finger over the ring finger: his work is one of the earliest attempts in Italy to establish consistency in keyboard fingering. As a contrapuntist, Diruta anticipates Fux in describing the different "species" of counterpoint: note against note, two notes against one, suspensions, four notes against one, and so forth.
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The fifth and sixth valves also give the musician the ability to trill more smoothly or to use alternative fingerings for ease of playing. This type of tuba is what is most found in orchestras and wind bands around the world. The bass tuba in F is pitched a fifth above the BB tuba and a fourth above the CC tuba, so it needs additional tubing length beyond that provided by four valves to play securely down to a low F as required in much tuba music. The fifth valve is commonly tuned to a flat whole step, so that when used with the fourth valve, it gives an in-tune low B. The sixth valve is commonly tuned as a flat half step, allowing the F tuba to play low G as 1-4-5-6 and low G as 1-2-4-5-6.
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In the following example, from a violin sonata by Handel, the second measure is to be played with bariolage. The repeated A is played on the open A string, alternating with Fs and Es fingered on the adjacent D string. The notes on the D string (E and F natural) would be fingered as normal (first finger and low second), but the fingerings given above the second measure would be [2040 1040 2040 1040], indicating the switch (bariolage) from open A string to the stopped fourth finger on the D string, also playing the note A. center Another well-known example of bariolage is in Bach's Preludio to the E major Partita No. 3 for solo violin, where three strings are involved in the maneuver (one open string and two fingered notes). In the nineteenth century, notable examples of its use are found in Brahms's works.
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The song "We Are Sex Bob-Omb" had originally been written in the first graphic novel, where O'Malley "not only lays out all the lyrics they're singing for the reader, but also provides chord progressions, charts for fingerings and even the time signature and feel" of the song. The graphic novels noted that Crash and the Boys' songs are three seconds long, which Godrich took as defining precisely what kind of band and sound that makes them. Knudsen recorded the lyrics for their two songs (Broken Social Scene had written four, but two were not used); O'Malley recalled that Knudsen's favorite band is Broken Social Scene, and that the actor was thrilled to be working with Kevin Drew from the band for the film. Broken Social Scene were asked to create Crash and the Boys' songs "because they had become friends of [Wright and Godrich] in Toronto".
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Left hand finger patterns, after George Bornoff First Position Fingerings While beginning violin students often rely on tapes or markers placed on the fingerboard for correct placement of the left hand fingers, more proficient players place their fingers on the right spots without such indications but from practice and experience. To attain good intonation, violin players train their fingers to land in the right places, learning to hear when a pitch is in or out of tune, and cultivating the ability to correct the pitch rapidly and automatically as they are being played. "Singing" the pitch mentally helps to land in the right spot. (In practice, intonation may be checked by sounding an adjacent open string, and listening for the interval between the two notes.) Although adjusting to the desired pitch after landing the finger is indeed possible, the amount of adjustment needed may be greatly reduced by training the fingers to fall properly in the first place.
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In these scores, such numerals have served to indicate anything from the number of sounds to be played within a span of time (for maaike schoorel, for anthony fiumara) or the duration of a rest or an unspecified pitch (for sesshū tōyō), to which player should play ever so slightly louder than the others (for blinky palermo). The score of his for louis couperin, inspired by the tradition of the unmeasured prelude, consists of nothing but two rows of numbers indicating the fingerings to be used by a keyboard player. According to composer and musicologist Daniel James Wolf, > [t]he notation in [Taylan Susam's] pieces is radically concentrated, often > to just a bit of prose and a field of random numbers or single pitches on > staves. He's interested in some very basic elements of music—intonation, > continuity, contrasts between sounds and silences—and this radical > concentration is anything but a naive response to those elements.
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Apart from the "College" and the "Time" series, Brubeck recorded four LPs featuring his compositions based on the group's travels, and the local music they encountered. Jazz Impressions of the U.S.A. (1956, Morello's debut with the group), Jazz Impressions of Eurasia (1958), Jazz Impressions of Japan (1964), and Jazz Impressions of New York (1964) are less well-known albums, but all are brilliant examples of the quartet's studio work, and they produced Brubeck standards such as "Summer Song", "Brandenburg Gate", "Koto Song", and "Theme From Mr. Broadway". (Brubeck wrote, and the Quartet performed, the theme song for this Craig Stevens CBS drama series; the music from the series became material for the New York album.) In 1961, Brubeck appeared in a few scenes of the British jazz/beat film All Night Long, which starred Patrick McGoohan and Richard Attenborough. Brubeck merely plays himself, with the film featuring close-ups of his piano fingerings.
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During the American Civil War, most brass bands used a branch of the brass family known as saxhorns, which, by today's standards, have a narrower bore taper than tuba—the same as true cornets and baritones, but distinct from trumpets, euphoniums, and others with different tapers or no taper. Around the start of the Civil War, saxhorns manufactured for military use in the USA were commonly wrapped with the bell pointing backwards over the player's shoulder, and these were known as over-the-shoulder saxhorns, and came in sizes from cornets down to E basses. However, the E bass, even though it shared the same tube length as a modern E tuba, has a narrower bore and as such cannot be called by the name tuba except as a convenience when comparing it to other sizes of the Saxhorn. Most music for the tuba is written in bass clef in concert pitch, so tuba players must know the correct fingerings for their specific instruments.
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By using the fourth valve by itself to replace the first and third combination, or the fourth and second valves in place of the first, second and third valve combinations, the notes requiring these fingerings are more in tune. The fourth valve used in combination with, rather than instead of, the first three valves fills in the missing notes in the bottom octave allowing the player to play chromatically down to the fundamental pitch of the instrument. For the reason given in the preceding paragraph some of these notes will tend to be sharp and must by "lipped" into tune by the player. A fifth and sixth valve, if fitted, are used to provide alternative fingering possibilities to improve intonation, and are also used to reach into the low register of the instrument where all the valves will be used in combination to fill the first octave between the fundamental pitch and the next available note on the open tube.
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These three lowermost half-steps are played via additional keys operated by the right thumb, some of them often duplicated in the left- or right-hand little-finger key clusters. Overall, the instrument sounds an octave lower than the B soprano clarinet. As with all wind instruments, the upper limit of the range depends on the quality of the instrument and skill of the clarinetist. According to Aber and Lerstad, who give fingerings up to written C7 (sounding B5), the highest note commonly encountered in modern solo literature is the E below that (sounding D5, the D above treble C). This gives the bass clarinet a usable range of up to four octaves, quite close to the range of the bassoon; indeed, many bass clarinetists perform works originally intended for bassoon or cello because of the plethora of literature for those two instruments and the scarcity of solo works for the bass clarinet.
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Bois has shown a special interest in composing for the recorder, an instrument with which he became acquainted initially from the Dutch virtuoso Frans Brüggen, for whom he wrote his first recorder piece, Muziek voor altblokfluit, in 1961. Muziek is clearly influenced by Berio’s flute Sequenza (1958), but also by the supple lyricism found in Boulez's Le marteau sans maître . This piece, based on successive transformations of a twelve-tone row, requires a level of skill that was unprecedented at the time: it employs the full chromatic range of the instrument, featuring extremes of range, rapid, difficult fingerings in complex rhythms, large dynamic changes and a modest range of extended techniques: fluttertonguing, glissando, and finger vibrato (; ). Initially received even by professional players with dismay over its "unjustifiably" tricky rhythms, as well as its "unintelligible" formal design (; ), Muziek has come to be regarded as one of the best avant-garde works of the 1960s for the instrument , and is considered a central work in the recorder’s 20th-century repertoire, whose technical extravagances have become "a necessary part of the training of every conservatory student" .
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Equivalent instruments in the key of BB and CC were produced by instrument manufacturers for marching bands who wished to possess the sound of these contrabass bugles, generally regarded as "darker", without losing hornline sonority by having the basses in a different overtone series from the rest of the hornline (or requiring marching tubists to learn another set of fingerings for tuba parts originally written for BB and CC instruments). In the 2000s, contrabass bugles often have three or four valves, as is common on concert tubas. Like most of their concert counterparts, they are pitched in either C or BB♭, although within the dwindling number of drum corps still using older instruments, they are, like the rest of the traditional bugle line, pitched in the key of G (or GG, depending on which naming convention is used). Instruments in any of these keys are generally larger in modern times compared to their older counterparts, although improved materials and construction techniques in the manufacture of instruments allows them to be made stronger and lighter than before.
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In creating a scholarly or critical edition, an editor examines all available versions of the given piece (early musical sketches, manuscript versions, publisher’s proof copies, early printed editions, and so on) and attempts to create an edition that is as close to the composer’s original intentions as possible. Editors use their historical knowledge, analytical skills, and musical understanding to choose what one hopes is the most accurate version of the piece. More recent scholarly editions often include footnotes or critical reports describing discrepancies between differing versions, or explaining appropriate performance practice for the time period. In general, editing music is a much more challenging endeavor than editing text-based works of literature, as musical notation can be imprecise, musical handwriting can be difficult to decipher, and first or early printed editions of pieces often contained mistakes.James Grier, "Editing" in Grove Music Online Accessed 24 April 2007 By comparison, what are known as performers’ editions do not rely on a thorough examination of all known sources, and often purposely include extraneous markings not written by the composer (dynamics, articulation marks, bowing indications, fingerings, and so on) to aid a musician playing from that score.
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