Course Mini Keyboard

Getting Started Keyboard Ended on 20/02/2002

Introduction:
Hail, Hail Partners of the keys .... Well, let me first introduce myself. My nam
e is Junior, and Marcus call today from this portal will be offering a course in
basic keyboard, where you try to spend a little of what I learned in my nearly
14 years related to music as a student, professional musician and teacher . Marc
us also will help me so that we can make the information here as useful as possi
ble for you surfers who frequent this site and wish to dive into the world of ke
yboards. Just want to stress that only this course is not enough, you need a lot
of dedication and commitment to it to take effect, and if possible the monitori
ng of a teacher or a school, whereas here we are addressing only the basics of t
he instrument. But let's get down to business. Junior Marcus Administrator Cours
e
Chapter 1: Understanding the Keyboard
I have noticed that many beginners are main difficulty once the immediate choice
of the correct equipment, given the immensity of brands and models on the marke
t. So let's start by explaining some differences in equipment so you can reach t
he conclusion which should be your choice. First: Keyboard does not equal or Pia
no and Organ. I have lost count of how many times in my life I heard the cry: Th
at's cool, you play organ! This is because the people in general think the Piano
, Keyboard and Organ are the same thing, what is not. Although coming from the f
amily of keys, the piano is a stringed instrument, the Authority Wind and Keyboa
rd is a digital instrument. This makes the way they are played is quite differen
t, although there are Keyboard sounds Piano, Organ and a plethora of other instr
uments. In the Keys we have basically three variations. The Child, the Amateur a
nd Professional, and within those two types, the Arrangers and the synths. Assum
ing you are a novice though, is no longer a child, then the ideal for you will b
e an Amateur Type Keyboard Arranger. In this range the two leaders in the market
are the Yamaha PSR line with his, and his line with Casio CTK, models ranging f
rom $ 250 to U.S. $ 1800. It's up to you to try and reach the conclusion which o
ne you like best and that fits within your budget. Only it was important that th
e chosen equipment had 61 keys and if you like computers and want a future engag
e your keyboard to the computer, that this was GM (General Midi) - although you
might not know what it is, trust me, you 'll still use it - we'll be discussing
more on this later. These keyboards have Styles and Rhythms, and also tones or S
ongs. In the Styles you will find some rhythms and ballads, Jazz, Samba, Salsa,
Waltz, etc.. On average these devices have over 100 Styles. Songs you'll find in
tones as Piano, Guitar, Bass, Violin, Drums and more. On average these devices
have 128 Songs. But we now understand how the seven musical notes Do, Re, Mi and
Fa, Sol, La, Si, are arranged on the keyboard looking at the picture below
We saw above how the seven musical notes are arranged on the keyboard, the seque
nce Do, Re, Mi, Fa, Sol, La, Si is repeated five times. From each interval of th
e Si is called the Eighth, so a 61-key keyboard has five octaves, beginning with
bass and treble ends with sounds. Arranger keyboards in the first 2 octaves are
intended for use by Styles, and the remaining 3 / 8 are intended for the use of
Songs, that if the equipment is operating in single or Fingered (Refer to your
keyboard for more information or between in touch with us.) Two ways to identify
the keys. One is building upon the Black Keys, or accidents. Looking at the bla
ck keys will identify that they have a range of 2 and 3 keys. Thus, Do is always
the white key that comes before the interval 2 Black, the white that comes befo
re the interval 2 Black, Re will be the white key located between the 2 E to bla
ck and white key located after the 2 suck. We have identified three notes Do, Re
, Mi. Now let the others. The F is the white key located before the interval of
three black keys, the Sun and there will be among the range of 3 black keys in t
heir respective order and Si will be after an interval of three black keys. So l
earn to find all the notes, but there is yet another way, the shape of keys, pay
 attention to the figure below.
The Re, the Sun and there are different forms. Already the C and F, have similar
shapes, like a L. And Mi and Si also€but like an inverted L. Now we know we wi
ll identify the keys to number the fingers of our hand to do an exercise. Both t
he left and the right hand fingers will be assigned the following numbers: Thumb
= 1 Indicator = 2 Medium = 3
Ring = 4 = 5 Minimum We now perform an exercise. Put your little finger (5) of t
he left hand in the first C of the keyboard. Go with your right hand up to the 3
rd C on the keyboard, which will be called Central and put this button on the Th
umb (1) of the right hand, as the figure identified below:
Now run the exercise as exemplified in the figure below, using the finger given
to the key specified, as shown below.
Try to make the first left hand then right hand, and finally merge the two. Also
do not rush in this case the old saying "Haste is the enemy of Perfection" is g
etting pretty truthful. Do as you slowly and steadily gaining on the fingers wil
l increase the speed of exercise gradually. When doing this exercise keep your f
ingers slightly bent over the keys and the wrist lifted. It is also important to
run it daily. Oh, and feel better for the exercise I suggest you do so with the
keyboard operating in Normal mode and using the Song Piano, which is usually 00
or 01. We were so then. In the next chapter will be teaching how to identify th
e notes in a score, and we will be putting the song for you Ninth Symphony playi
ng at home, so be sure to visit us to take these innovations and others that thi
s website offers, and even there, hands to work with the proposed exercises.
Chapter 2: Rhythm, Melody, Harmony and Progress
The Foundations of Music
Well, before starting the second chapter of our Basic Course, I would like to th
ank the visitors to the Site and emails sent. Keep visiting us and sending email
s, after all, what is an artist without his public ... oh! But joking aside, I h
ope that all stakeholders are benefiting from the bad Ximo the information that
I am offering. I would just emphasize what my friend Roger (drums) always says.
Commitment, Dedication, Study ... These are key words so that you can achieve yo
ur goals.
Oh and another thing, all beginners tend to have a certain "gas" initial, want t
o do the right exercises and music proposals, and this presents a great danger,
because they can learn wrong, and after they learn is very wrong difficult to co
rrect the defects. Per-well, Patience! Play does not play well but play Quick On
e, agility is gained over time. Try to imagine a beautiful home with beautiful f
urniture and clean. It feels very nice to enter into such an environment. Howeve
r for this block has come to look like it took a major factor, the foundation, t
he support columns. Good music is like that. It's very nice to hear a beautiful
song, but for this song will become beautiful is that she needed their support c
olumns well structured, Rhythm, Melody, Harmony and Progress. Let us define thes
e alice-ces. Rhythm: It is a sequence of sounds at regular intervals. We must no
t confuse Pace with Style. Style is a thematic variation of rhythm. What determi
nes a style is not so much rhythm, but the Harmony will still be addressed. Can
we define as some major styles Rock, Samba, the Waltz, Jazz and so on. But vol-i
ng the talk in rhythm, we can divide the Rhythm in Time, just to name the most u
sed are 2, 3, 4, 6 and 8. Melody: It is a sequence of sounds at irregular interv
als. The Melody walks through the Rhythm. The melody is usually the most promine
nt of Music, is the part that is left to the singer or an instrument like a sax
or guitar solo and so on. Whenever you hear a Solo - notes played individually -
you'll be hearing a melody. Harmony: It is the joining of parts as a whole. The
 combination of rhythm with the melody and other elements form the harmony. It i
s through the harmony that we can have different musical styles. Although the rh
ythm does not vary much, the melodic elements are fundamental and complementary
styles to create distinct and harmonious. Current status: It is the change in sp
eed of Harmony, or the end result of the joints of the elements Rhythm, Melody a
nd Complementary. Some songs are quite slow, as the song If You Do No Me By Now,
the whole Simple Red, with about 80 beats per minute, and others are very fast,
such as co-nized Brasileirinho with 150 beats per minute. Well, now we already
know the basic elements for the creation of a Music,€we analyze how these eleme
nts can be transcribed in a way that there may be a correct communication betwee
n composer and author of Music and Performer. To do this we begin to consider ho
w to Universal Music Transcription by Means of Notes.
Chapter 3: The System of Universal Notation
We saw all the properties of the Music and Sound, now is the time to learn to pu
t the music written in order that we can pass our creations and also perform pie
ces from our favorite artists. First let us remember the names of the seven musi
cal notes. They are, C, D, E, F, G, A and B. Now let's look at the musical score
, the set of lines is used to transcribe the musical notes. See the musical scor
e below standard.
As seen the Tariff or Pentagram is a set of five lines and four spaces are group
ed, po-
palm oil likely to have additional lines added. Although the above representatio
n there are only 5 extra lines above and below, this number may be higher, since
the tariff or Pentagram did not begin or end. Will also be found in the Tariff
divisions. These are called Compasses. We now consider how the seven musical not
es are arranged in the Tariff or Pentagram-ma. Look how early in the Tariff or p
entagram a symbol there is the treble, there are other Claves, they are determin
ing the position of notes in the Tariff or Penta-gram. In our study we analyze t
wo Claves, the Sun and of F. We will then start learning the system of musical n
otation in Clave de Sol
Note that the Clave starts on 2nd Line, that's where the note G, if you want to
continue on just follow-ing order. Let us now then perform a song, this song is
the Ninth Symphony. Let's run it as follows: Check the notes of music in the mus
ical staff. Any questions look at the picture above and check the correct note.
The numbers that will find below the note refers to the fingers of his right han
d to be used.
Let's try it then!
Well, this is it. Do not worry about the fact that some notes are black, some wh
ite, some have Astes related, others not. This is related to a matter still to b
e addressed. What matters is their position on the tariff, ie, what is the note
should be played. The starting point will be the 3rd Mi Keyboard.
Chapter 4: Chords
Wake by definition is an amalgamation of two or more notes. Therefore, chord not
es are played simultaneously. There are basically three types of chords, which a
re: Triads: Chords consist of three notes. Among these are the basic chords, Do
- Re - Mi - Do - Sol - La - Si, both Major, Minor and also as a pound sign (#) a
nd flats (b) in addition to Miniature, but also we'll talk later. Tetrad formed
by four-note chords. Among these are all triads, plus a 4 note, which can be for
example Seventh (7th), Ninth (9th), Seventh Largest (+7) and a host, who also d
iscuss the future. Added to tetrads: Chords consist of five or more grades. Amon
g these are all tetrads, plus one or mias notes, for example, Major Seventh and
Ninth, would +7, 9. The chords have a different naming of the notes, which repre
sents for them are used letters of the alphabet. The figure below illustrates th
e nomenclature of July 1 we will learn chords.
Chapter 5: Figures or Values
Not all notes have the same duration. To represent the various durations of the
sounds of music notes are written in different forms. These various forms of not
es are called pictures or values. These are the figures most commonly used: The
Whole note is worth 4 times the valley Minimum Scored three times
The Minimum worth 2 times
A crotchet is worth 1 time
The Eighth worth half time
The Sixteenth valley fourth time
The Fusa valley eighth time
The
Sixty-fourth note is worth 1 / 16 time
These figures represent the sounds, are called values or artwork to sound. Longe
r pauses are figures that indicate the duration of silence between sounds. Some
keyboards give breaks to the designation of negative figures or negative values.
I disagree. The breaks have rhythmic function and aesthetic function defined in
the musical sense. Hence can not be regarded as negative pictures, which has to
make sense of no value. The figure is the break in the musical construction as
important and meaningful as the figure of the sound. Below we can see an example
of break. That would be considered a major break as they appear on the score co
unts, equivalent to one time.
Remember that each picture has its corresponding sound break it corresponds to t
he length of time.
Chapter 5: Ligation and Point Increase / Decrease
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Ligature
Ligation is a curved line that is placed over or under two or more sounds the sa
me pitch, indicating that the sounds associated should not be repeated, that is,
only the first sound is emitted, the rest will only be a prolongation of the fi
rst
This extension will run from figures associated
When the ligature is placed above or below the pitch sounds different, its effec
t is merely instrumental or vocal performance, stating that between the first an
d last sound included within the ligature should not be interrupted, but that su
ch sounds are executed ligadamente (below)
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Point Increase and Decrease
A point on the right of the figure serves to increase the value of half the dura
tion of that figure. And so called point increase. Point replaces the bandage, w
hich has the function of adding time two or more notes.
There are cases where the minimum scored is worth a minimum and more a quarter (
half the minimum, since the point serves to raise half the value of the figure.
So we can say that the breaks can also be scored. But the point Mitigation is pl
aced above or below the note. For this reason, the bar turns into quaternary bin
ary. The symbol of the compass also changes. The eighth notes, sixteenth notes,
thirty-second notes and Sixty-fourth note has slightly changed its symbol, becau
se they are close to each other.
Chapter 6: â ¢ Bars
General
The figures represent the value of the notes have maturity date, ie has no fixed
value. For which figures have a value determined on the duration of the sound t
hat value is previously agreed, and this is the life span that is called time. S
o, if we set the quarter note lasts for a while, we see that the minimum worth t
wo times, since its value is twice that of the quarter note, the whole note is w
orth four times, because we have four quarter notes to form a whole note , the e
ighth note is worth only half-time because it takes two eighths to the formation
of a quarter note and so on. We can say that times are grouped into equal porti
ons, every two, every three or four qautro, constituting metric which is called
a compass. Remember: The two measures of time are called binary Bars 3 days are
called ternary Bars 4 strokes are called quaternary Each group of times, that is
, each bar is separated from the next by a vertical line indent.
In finishing a piece of music is used to put two bullets called: double indent (
indent or double) or pause end (if the ending is absolute, that is the finalizat
ion of the stretch)
In any bar to figure that fills one time called the unit of time and figure that
fills a bar called the unit of measure.
Bars are divided into two categories: simple and compound. Are represented by an
ordinary fraction placed at the beginning of the agenda, after the clef.
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Simple Bars
Simple bars are those whose time unit is represented by a figure divisible by 2.
Such figures are called simple, that is, figures are not scored. Take for examp
le, a compass any (binary, ternary or quaternary) in which the unit of time is a
quarter note or eighth note. The quarter note is worth two eighth notes, sixtee
nth notes and eighth note is worth two, then both are divisible by 2. Thus the b
ars that have a quarter note or eighth note as the unit of time will be simple b
ars. We now consider the terms of the fractions representing the numerator deter
mines the simple bars on [Returns the number of times the bar. The figures are f
or the numerator of the bars are simple: 2 (for binary), 3 (for the triad) and 4
(for the quaternary). The denominator indicates the figure which represents the
unity of time. The numbers that serve as the denominator are: 1 - representing
the whole note (considered as a unit) 2 - representing the minimum (half of the
whole note) 4 - representing a quarter note (quarter of the whole note) 8 - repr
esenting the eighth (eighth of semibreve) 16 - representing a sixteenth (sixteen
th part of the whole note) 32 - representing the fusion (thirty-second part of t
he whole note) 64 - representing the Sixty-fourth note (sixty-fourth of the whol
e note) TABLE OF ALL simple compass WITH YOUR TIME AND UNITS COMPASS * duple
Triple meter *
COMPASS * Quaternary
Chapter 7: List of Chords and Scales
During this study we addressed some of the chords. In this chapter we will try t
o secure more in your mind the importance of training and learning chords and al
l the notes that will be part of it. We are changing a little matter,€since the
earlier chapters were placed many theoretical and difficult to assimilate quick
ly. So for our study does not become tiring going back to make a practical appro
ach on the chords. In the early chapters we gave a brief brush this matter, only
in order to get inside of you that we will explain here. We will know then what
is a Scale. If you are already a student of guitar, may have seen this term. Sc
ale is nothing more than a set of notes that will take part in the formation of
chords. For example, the scale of pity. do re mi sun makes itself there this set
of notes will form the chords of the key of C major. Major Scale
The major scale is formed by - the C major scale: fundamental note of the two to
nes re, mi a semi tone (half tone) makes three tones sol, la, si a semi tone (ha
lf tone) sorry - Scale G major: 2nd keynote sun shades there, itself a semi tone
(half tone) of 3-tone re, mi, f # 1 semi tone (half tone) sun Minor Scale The m
inor scale is made up of: - scale it smaller: there a fundamental note pitch its
elf a semi tone (half tone) of two tones re, mi a semi tone (half tone) makes tw
o sun shades, there - Scale of E minor: keynote mi a tone f # a semi tone (half
tone) 2 sun shades there, itself a semi tone (half tone) doh
2 tone re, mi
The Relative If you look closely you will notice that the same notes that make u
p the C major scale are those that form the minor scale, as well as the notes of
the G major scale are the same as the scale of E minor. So are related tones: C
major and minor c # a # minor and major D major and B minor D # major and C min
or major and mi c # minor F major and D minor F # major and D # minor and G majo
r g # major E minor and F minor A major and F # a # minor and major G minor and
B major # minor sun Every major key has as its tone on a minor key, and every mi
nor key has with its tone for a major key .
Chapter 8: The Two Hands
When we touch, some things should be very clear: In your opinion, when we play w
e're soloing (playing the melody and harmony), accompanying someone singing or a
n instrument soloing or we are following a set with several other musical instru
ments? Well if you thought it all fit together, you missed! The most appropriate
method that will be very helpful to their learning is if you put in your head t
hat when we play together with someone singing or an instrument soloing and we a
re following a set with various musical instruments. This method can be summariz
ed in a single way to harmony:
On the left hand with open chords,
In his right hand with chords in first inversion. Left Hand (Chord open) open A
chord is needed on the left hand because this hand often plays with the sounds m
ore serious, therefore, if we play the chord in its key position will sound so d
im. The more severe a chord, more open their training should be an open agreemen
t covers an octave in the case of C to C: consists of: a) fundamental note of th
e chord C, b) Thursday G c) Note the fundamental chord an octave above C Chord o
f C:
And this goes for every other chord scale and other scales for right hand (chord
in first inversion) The right hand plays the same chord, where C in the first i
nversion, arpeggiated or beaten. a) the second note of the chord (E) b) Third no
te of the chord (G) c) Note fundamental an octave above (C)
Chapter 9: Chord Inversion
The chords are previewed in its fundamental position, or are formed from the fun
damental note of the chord (first note of scale). We can also begin to form the
chords from the second note (third) or third note of the chord (fifth). We take
for example the chord of C.
Basic Position
First Inversion
Second Inversion
Exercise:
Good for you to get some speed going down that learning is an ideal exercise to
learn this inversion of chords. Practice a lot! Play the arpeggiated progression
s below the low open chord in the left hand and hit (no arpeggio) in first inver
sion with the right hand:
C F C C7 F Fm C Am F G G7 C
C F G C Am Dm GC
D G D D7 G Gm D Bm G A A7 D
D G A D Bm Em AD
E A E7 A Am E E C # m B B7 E
E A B E C # m F # m BE
C F G C Am Dm GC
F Dm7 Gm7 Gm7 Bb F Bb F
C G Am7 G Am7 C G D G
DGADGD C A7 DF # m AD D7 In GADGD GAF # m Bm In ADGAD
C G Am F G Am Em7 Dm Dm7 Em7 F G C
EABEAB E F # m C # m G # m B E
Chapter 10: Chords with bass on another note
Are chords in the right hand in his key position or inverted, and with his left
hand only first and eighth note of the chord. One example, called "C with low mi
"
Another example: call "sun low in itself"
And yet among many others "out there with low C sharp"
As well as many others: D / E D low in E E / G # mi low in G sharp D / F # D low
in F sharp Am / G minor low in G G / A sun low in there C / G C with low sun Bb
/ D with a low B flat F in D / A does low in there Dm / F D minor low in F D /
D in there with low C / G C with low sun F # m / And with low F sharp minor No.
2 in E EXERCISE The exercise in the first instance, play the following chord pro
gressions GG / BCDGD / F # Bm7 D C A7
GG / BCDD / CGG / BDD / CGD / F # CDGD / F # C DG
CC / EF Am GD / F # GCC / EF Am GD / F # GE Am Am / GFD / F # GE Am Am / GFD / F
# G
E E / C # B A G # m C # m F # B F G # m C # m F # m B
modulation Bb C
FF / A Bb C Am Dm Gm C Am Dm Gm CF Please note that we were playing at and, soon
, we started to play in F, this is called modulation of tone.
Chapter 11: Seventh Chords in Major (7M) and Ninth Major (9)
Major with Seventh Chords (7M) The major seventh (maj7 or 7M) is the seventh not
e of the scale, far from the only eighth note one semitone: Taking as an example
the range of C: We have: CDEFGABC 3-4 1st 2nd 5th 6th 7th 8 His training) the f
undamental note of the chord in which bears the name of the chord (C in this cas
e) b) One third (E) c) a fifth (G)
d) A major seventh (B) 1st to 3rd 5-7 or CEGB therefore the chord of C:
The major seventh (7M) must be taken in all grades.
Major chords with the Ninth (9) So with the major seventh (7M), the chord with t
he ninth largest (9) is the ninth increase in the scale note to the chord.
Taking as an example the range of C:
We have: CDEFGABCD 3-4 1st 2nd 5th 6th 7-8 to ninth Its formation
a) The fundamental note of the chord in which bears the name of the chord (C in
this case) b) One third (E) c) a fifth (G) d) A ninth largest (D) first to third
5-9 or CEGD
Therefore the chord of C:
Chapter 12: Technique Musical Keyboard
This chapter serves to dilute a bit the situation, because we put in the previou
s lessons and many complicated things that need to be studied calmly that there
is no doubt in the course of our learning. I'll put something very important her
e as the basis not only for the keyboard, as well as other instruments. Discuss
here a set of tips and techniques for a good sync with your keyboard. If you use
the correct technique, you are automatically saving several moves that are unne
cessary, thus gaining in speed, clean sound, have a "footprint" is obviously mor
e correct and less tired. The problem is that most self-taught musicians know th
e primordial need for a refined technique and many get themselves to class witho
ut a care in this area are then tonando makers musicians defective. A student wh
o has a foundation of technique takes much longer to do stunts on his instrument
, while the student concerned to develop and maintain an accurate technique will
soon be a virtuoso. Therefore it is common to see someone who makes class a yea
r ago playing better than another class that makes two. * WHAT IS RIGHT TECHNIQU
E? Our fingers are unprepared by nature and without the necessary motor coordina
tion, so they are disobedient to the command of the brain. For example, one exer
cise may ask you to move only one finger while keeping the others fixed elsewher
e but you can not make them obey even though he understood how to do it. To corr
ect this failure are special exercises which will be valid only if followed exac
tly, are called typing exercises. Them no matter the tune, but the movements are
therefore not to make music but to make a good musician. magine you are an entr
epreneur who needs a desk and two candidates appearing for the post: a known typ
e with skill, using all fingers and a perfect synchrony. Already the other, unpr
epared, she can only hit the machine with two fingers, is looking for the letter
 on the keyboard and it takes forever to end the text, as well, which one would
you hire? The two write, but what made the difference? The technique! So it is w
ith the musicians. To have a correct technique is necessary:
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DISCIPLINE:
Better half an hour a day practicing than just get in instrumnto on Sunday and s
pend the whole day. The least ideal would be two hours per day that can be divid
ed by the course of the same. You should be relaxed, attentive only to his study
, free from interruptions, a correct posture and comfort.
Note if you play curving on the instrument, watch your back! Be critical and dem
anding of yourself, only change for next year after dominating the previous and
pay attention to details and idiosyncrasies that must be taken wrong.€Put aside
all lazy, do one of those hours must, learn to miss practice. Do the exercises
exactly as requested, do not give "knack" to facilitate them, only the constant
practice will make it easier to become any less exhausting exercise.
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METRONOME:
This should be your comrade! The metronome and measure their performance will ke
ep you within the correct timing. With the metronome you get confidence and secu
rity and will know their speed limits and then surpass them. But do not panic! L
earn to play slowly, "pianissimo", feeling every note, vibration, duration, paus
es, etc.. Who practices with a metronome going away ...
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HEATING:
Like any other physical activity to practice the instrument must be preceded by
a heating. Exit hastily began playing with the hand "cool" just to hurt your ten
dons and may cause problems later.
Chapter 13: The importance of Sheet Music Publishers
This subject is not directly connected to the keyboard, but it is very important
that the media focuses on publishers of sheet music. Today with the help of com
puters you can organize your sheet music keyboard in an extremely professional.
With the aid of a music publisher and a standard MIDI keyboard connected to the
micro, we can quickly copy a score with an impressive quality. The Computer came
in everyday music at the hands of studio musicians, and those who already had s
ome familiarity with electronic instruments such as synthesizers, for example. T
he instrumentalists "Acoustic" - especially the "scholars" - not seen with good
eyes that machine that someday might replace them. This picture, however, is tur
ning quickly. More and more musicians are discovering the computer a versatile t
ool to support their activities. Whether in print scores, in drawing up arrangem
ents or in the preparation of material for teaching activities, the computer can
improvements in quality and agility. That is, a gain of time gives the musician
more freedom for creative activities. Let us consider, for example, score edito
r ENCORE 4.0 * (which can be found on our website in the section of programs), t
he company's U.S. PASSPORT. Because of its versatility, ease of use and quantity
of resources, this program has been one of the most used by professional musici
ans who work on computers like PC or Macintosh. The first step is whether you re
ally need a score editor. Is worth changing your pen for a computer? Consider: Y
ou have to copy or create a lot of music? His band depends on the work of volunt
eers (with calligraphy are not always clear) to make copies of songs that play?
You're a teacher and would like to see printed all those exercises and studies w
ritten for your students? You give lessons in harmony and find it important that
students can visualize the spelling of exercises that do?
You get confused today when he writes parts for transposing instruments and cons
idered a divine punishment when he discovers what has to change the tone of an a
rrangement that you just write? You wont, from time to time, skip a few bars int
o their copies, which must then be added over the other in the form of "parrots"
of paper? You hate playing in parts photocopied? Just be answered "yes" to thes
e questions, to know that a notation editor can certainly change your life. With
it, you put the computer's memory to grade the song you want to print and may a
mend it, implement it and finally when everything is ready, print it on paper. M
oreover, meaning that you need to write only the general grid, the individual pa
rts are generated automatically! There's more. With the resources that have a sc
ore editor, you can still write notes with the mouse, placing them one by one in
the pentagram, or use the keyboard of the computer, like a piano. It is also po
ssible to attach a PC keyboard musical, where the notes you play will be automat
ically written to the pentagram. For those who are good keyboardists, these entr
ies of notes can be made in "real time", where the computer automatically notes
the pace run. Any portion or all the music, can be easily implemented. Thus, if
an instrument other doubles, just type the part once and then copy it to other i
nstruments, or for places where the phrase is repeated. And if you find in the m
iddle of the copy that his music would sound better in two of four rather than f
our for four? Much work? No. The program can rewrite everything automatically. O
nce written the grid, the computer draws the parts you want, and compresses the
pausas.Assim,€if an instrument is not played for 20 bars, is created in part a
measure of apus with the number 20 on it. In the case of musicians with visual i
mpairments, for which the roles of traditional music are not easy to read, the e
ditor can generate sheet music from his pocket with notes to parts giant. Moreov
er, if you write books about music, know that you can remove parts made in the s
core editor and insert them into a text editor. In addition, the program still h
as special features for annotation of parts for guitar and guitar - both by note
s and by figures; writing lyrics in the songs, facilitating the development of c
horal scores, and the notation of percussion instruments, with all symbols requi
red. In the early and mid-80s, many people (like myself) bought a computer just
to use the text editor. A program like notation editor today justifies the purch
ase of a computer for those who need to write music. The ENCORE, for example, mu
sic can transform into what you write. This is an invaluable resource for compos
ers and arrangers, who may have a clear idea of what we conceive without having
to use the musicians as "guinea pigs". On the other hand, for a music student, E
ncore provides efficient laboratory of learning where small ideas can be metamor
phosed and experienced sonically, even transformed into music.
Chapter 14: Accelerating entry via the keyboard Notes
In this chapter we tackle a subject that connects the keyboard with the scores E
ncore program, which I consider the best of the genre. We gave some tips in this
program during this mini-course and now finalizeramos with other data. Write a
score without the use of a piano keyboard (synthesizer), can be very slow, espec
ially for those who do not have much experience with Encore.
As in several software, music or not, as in all operating systems for microcompu
ters, Encore has shortcut keys to speed up the work of writing directly on the c
omputer keyboard. Of course we must use the mouse too, but it is much faster wri
te using a combination keyboard / mouse. Here are some shortcuts utlidade much t
o write a score quickly. Starting with the numbers, which refer to the rhythmic
values:
The other keys are also very useful: E - R Rubber - Switch between pauses and no
tes T - Tuplet A - Arrow S - F sharp - D-flat - point increase Shift + D - Doubl
e point increase N - Natural sign The more practice, as with everything, more sk
ill and speed is acquired. Practice.
Chapter 15: Duration
We talked about time intervals during this mini-course but not in depth on one i
mportant item: the duration.
Duration is a time interval. It is the time between the beginning and end of the
sound event. We could measure this time in terms of seconds. A conductor could
tell the first violin: a touch Si by 4:56 seconds. This is not, however, the way
the musicians represent the duration of a sound event. The duration of a note i
s represented in a score, through a sign convention that has lasted several cent
uries. In this type of notation usual, do not specify the duration in absolute t
erms. The symbols contained in a score never say to a musician: "touch a note th
at for many seconds." A score tells a musician: "touch a long note" or "touch a
note with a duration equal to half the length of a long note" or "one quarter of
the length" and so on. The symbols and the durations represented by them are sh
own in Figure 1.1.
Note that this notation represents the relative duration between notes. From the
table of Figure 1.1 we can deduce not only the relations between the whole note
and the other figures but the figures from each other. For example: what is the
relationship between the duration of the quaver and the minimum? However, if th
e two minimum amount to a whole note and eight eighths equals a whole note, then
four eighths are equivalent to a minimum. What is important is that in the nota
tion of the score, does not express absolute time but time is relative. Each fig
ure expresses a time that has no meaning isolated but only in conjunction with o
thers. Thus a score can be played slower or faster. When the score is played at
a different speed, the relationship between the durations of notes does not chan
ge. The rating period is commonly known by musicians as rhythmic notation. A com
bination of several notes of different durations always denotes a rhythm or rhyt
hmic pattern.
We can represent a rhythmic pattern combining several symbols long.€See the rhy
thmic pattern of Figure 1.2, for example. In it are four rhythmic figures: a hal
f note followed by two quarter notes and one minimal.
What is the duration that each of these four figures represent? In terms of dura
tion on the whole note, the quarter note is worth one quarter of the length of t
his valley and the low half. Suppose that the first figure (a whole note) lasts
a second. The second figure (a quarter note) would last quarter of a second, bec
ause it is always worth a quarter of what is worth the whole note. The third fig
ure also would last quarter of a second. The fourth (lowest) lasted half a secon
d, it always pays half of the whole note. Imagine, moreover, that we decided to
make a whole note lasts two seconds. The duration of the other three figures wou
ld be, respectively: half a second, half a second and a second. Of course, a mus
ician, to play, is not thinking about the value of durations in terms of seconds
. What he can do is, for example, hitting a mark with the foot fixed in time and
thinking: "TOC-TOC-TOC" my foot is touching a lot of quarter notes, one after a
nother. Having a marked rhythmic sets on foot, he can hit with the hand the rhyt
hmic pattern, using the foot (the quarter notes constant) as a guide. Suppose th
at player gets to play a whole note with your hand. He knows that each half note
has a duration equal to the duration of four quarter notes. If he is tapping hi
s foot portion of a whole note is worth four quarter notes and quarter notes, he
knows that to play a whole note with your hand, you have to play for a time equ
al to four beats of your foot (the quarter note). Write to rhythmic division of
a given melody in customary notation of scores is not a trivial task. Also the o
pposite is not trivial, ie read a particular division in a rhythmic score and pl
ay it accurately. These tasks are called, respectively, "Rhythmic Dictation" and
"Rhythm Solfeggio." They take a lot of time researching the musician. As I said
earlier, the score representing the ratio of duration between different note du
rations and not absolute. Suppose there are hundreds of notes in a score. The du
rations for all of them are already specified and that just ONE of the durations
of the absolute figures are specified for which all others are also. In a tradi
tional score, the absolute value of the length of a figure is indicated by placi
ng on top of the score markings as in Figure 1.3.
The figure shows a quarter being equated with the number 60. This means that on
this score, the quarter note is worth "one sixtieth of a minute or one second. I
f the number was equal to 80, quarter note worth 1 / 80 of a minute or 0.75 seco
nds. This marking is known as marking time or going. Now if the quarter note is
worth a second, we can deduce how much worth all other rhythmic figures: the who
le note is worth 4 / 2 (the fourth quarter note is always worth it), the minimum
will be worth 2 / 2 etc.. Actually, this marking, which appears at the top of t
he score is usually used in conjunction with a device called a metronome. This d
evice is a kind of "automatic standing". He does a lot of noise like clicks, equ
ally spaced. The duration of the interval between clicks is adjustable by a bull
et. Under the marker numbers are written. If the player will start the study of
a garment that has a marking of time as that shown in the previous figure, it re
gulates the number corresponding to the metronome markings in the score. He know
s that the device will hit the same figures to the figure being equated with the
number. In the example, the instrumentalist would regulate the metronome to 60
and knew this would hit each representing a quarter note. If he wanted to play a
quarter note, suffice it to play a period equal to the beat of the metronome. I
f I wanted to play a minimum, I'd be equal to two beats of the metronome etc.
Final: End of Course
We reached the end of our Mini-Course Keyboard. I believe that for a mini-basic
course brought the critical information to get you started in the art of musical
keys. Certainly we put here an overview of what is most important for this init
ial learning. It's always good to remember that this is a Mini-Course, so do not
rely only on those studies. This serves only to give a boost to those who would
like to learn about this instrument. I appreciate the emails of praise and sugg
estions given so far in the course of that progress. I wish you all a good learn
ing. Be patient with care and study each lesson here arises not so sure.
A big hug to everyone and I hope you enjoyed everything. Marcus Vinicius (Respon
sible for the final part of the course) Junior (Responsible for the first part o
f the course) mailto: junior.tecladista@bol.com.br mvhp@mvhp.com.br Phone: (11)
6917-5386 (Junior)