Asking the measure to sharpen the tongue in a swift soft hollow,
the tune sings as the notes in only a alphabet cling,
each said of a to the be in an f flat make what is knifed to grit and pound sighed.
How Mozart would have swung in upper cleft to say that tremble ached the stage to swing clocks,
in that movement of only a sonata the grief would magnify to sweep the stage as light,
weeping the level would again piano tell.
Must the song of Beethoven be held in only seeping venue?,
message of wealth clarify to the present and say that Latin spread to the land,
in each sorted fingering to say that words do have truth,
the meaning imagine.
Fortnight stretched,
cobblestone spoke,
the wheel of Time aged in Pontus,
pilots fell to sleeping melodies as the music swam the ears of only this lift.
From wick to nettle such thorn rose,
a garden of elevate,
the chorus off a giant steep,
a clock tower swung to grace.
Singing only the set I guest gently an interest,
the note in over swelling the books,
how to read it through the eyes of our history is to know historic found.
Bravo reef and the clams muscle in the bench of seek,
find the chimney and boast the pedal as the sound is butter to the cream,
the made is only a sung yet the telling is our tongue,
language locked behind these templates of ivory torn,
such keys that trumpets horn and flutes antique,
the violin makes ready only the trombone,
forts buried these plumes and blooms fell ready flowered,
how must the pier of oceans shield the wealth of mankind should space be laid,
proper to the grown how corn sung to that wheat,
the task is units breadth.
Assigning each letter a note and placing balance from the character as in the sharp note to the flat would a person be able to write in English the music once only heard to ears of pleasure? Would that person have to assign Latin or the spoken tongue of the time of that written music? I wonder what would it say in the in letter addressed? It would be as a message in the bottle, a finding of treasure at the very least would organize the effort.
Letter notation
Western letter pitch notation has the virtue of identifying discrete pitches, but among its disadvantages are its occasional inability to represent pitches or inflections lying outside those theoretically derived, or (leaving aside chordal and tablature notations) representing the relationship between pitches—e.g., it does not indicate the difference between a whole step and a half step, knowledge of which was so critical to Medieval and Renaissance performers and theorists.
Contents
History
The earliest known letter notation in the Western musical tradition appear in the textbook on music De institutione musica by the 6th-century philosopher Boethius. A modified form is next found in the Dialogus de musica (ca. 1000) by Pseudo-Odo, in a discussion of the division of the monochord.[1]Guitar chords
Letter notation is the most common way of indicating chords for accompaniment, such as guitar chords, for example B♭7. The bass note may be specified after a /, for example C/G is a C major chord with a G bass.Where a capo is indicated, there is little standardisation. For example, after capo 3, most music sheets will write A to indicate a C chord, that is, they give the chord shape rather than its pitch, but some specify it as C, others give two lines, either the C on top and the A on the bottom or vice versa. A few even use the /, writing C/A or A/C, but this notation is more commonly used for specifying a bass note and will confuse most guitarists.
Choice of note names
In the context of a piece of music, notes must be named for their diatonic functionality. For example, in the key of D major, it is not generally correct to specify G♭ as a melodic note, although its pitch may be the same as F♯. (Note that in many tuning systems other than twelve tone equal temperament, the pitch of G♭ is not the same as that of F♯.) This is normally only an issue in describing the notes corresponding to the black keys of the piano; there is little temptation to write C as B♯ although both may be valid names of the same note. Each is correct in its context.Note names are also used for specifying the natural scale of a transposing instrument such as a clarinet, trumpet, or saxophone. The note names used are conventional, for example a clarinet is said to be in B♭, E♭, or A (the three most common registers), never in A♯, and D♯, and B
(double-flat), while an alto flute is in G.
Octaves
Note names can also be qualified to indicate the octave in which they are sounded. There are several schemes for this, the most common being scientific pitch notation.Scientific pitch notation is often used to specify the range of an instrument. Where sharps or flats are necessary for this, these are related to the natural scale of the instrument if it has one, otherwise the choice is arbitrary.
Other note naming schemes
Tonic sol-fa is a type of notation using the initial letters of solfege.See also
- Antiphonary of St. Benigne, letter notation by William of Volpiano
- Abc notation, a letter notation based file format for computer storage of music
- Helmholtz pitch notation
- Musical notation
- Solfege
- Swara
References
- See "Medieval letter notations: a survey of the sources" by Alma Colk Browne (Ph. D. thesis. University of Illinois at Urbana-Champaign, 1979) and "Medieval Canonics" by Jan Herlinger, in The Cambridge History of Western Music Theory, Thomas Christensen, ed., 2002. Cambridge University Press, ISBN 0-521-62371-5
No comments:
Post a Comment