Music theory

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  • Grade 1 Music Theory has 4 Lesson: Lesson 1 - The Music Staff and Notes, Lesson 2 - Clefs, Lesson 3 - Accidentals, Lesson 4 - Time Names of the Rests (UK Version).

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  • Grade One Music Theory 3 has Lesson 11 to Lesson 15: Lesson 11 - Major Scales, Lesson 12 - Key Signatures, Lesson 13 - Intervals, Lesson 14 - Tonic Triads, Lesson 15 - Rhythm.

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  • Grade One Music Theory has Lesson 16 to Lesson 19: Lesson 16 - Dynamics, Lesson 17 - Musical Symbols & Signs, Lesson 18 - Foreign Musical Terms, Lesson 19 - Handwriting Music.

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  • Grade One Music Theory 2 has Lesson 6 to Lesson 9: Lesson 6 - Dotted Notes, Lesson 7 - Beaming Notes (UK Version), Lesson 8 - Tied Notes, Lesson 9 - Time Signatures (UK Version).

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  • I’ve noticed over the years that many guitarists simply do not know anything about music theory, namely the theory based in the “western” classical tradition. Well, to say they do not know anything about it is a bit of an exaggeration; many know a decent amount about theory, they just do not know how to apply it to the guitar. It is almost as if there are two separate languages being spoken these days: “real” music and “guitar” music. Hence the popularity of tablature and it being the sole method for song learning many guitarists (right along with playing by...

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  • First and second endings indicate different music to be played the first and second times. “2x only” (not shown below) means play that music the second time only. Third and higher endings are also possible.

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  • Guidelines for clefs and staves: 1. Lines and spaces are numbered from bottom to top. Lines: 1 to 5; Spaces: 1 to 4. 2. The plural of staff is staves. One line of music in a score is a system, which may have many staves for the individual musicians. 3. The treble clef always circles around the "G" line (2nd line). 4. The two dots in the bass clef always surround the "F" line (4th line). 5. The center of any C clef always indicates middle C (C4).

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  • A beat is a repeating musical pulse. Listeners sense the beat when they tap their feet or clap their hands in time with the music. Musicians group beats into units called measures or bars. Every measure ends with a barline. A special final barline indicates the end of the movement or piece.

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  • The lower tetrachord and the upper tetrachord each follow the major tetrachord pattern: W-W-h, with a whole step between them. To visualize the whole step/half step pattern shown above, review 1.2 The Chromatic Scale and the Piano. Remember that E to F and B to C are natural half steps (no accidentals needed).

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  • Octave An octave is the distance from a note up or down to the next note with the same name. For example, from the pitch A up to the next A is one octave. Octaves span eight letter names: A-B-C-D-E-F-G-A = 1-2-3-4-5-6-7-8.

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  • Duration Rhythmic value Rhythm Rhythmic values Duration is how long a note lasts. A rhythmic value is a symbol indicating relative duration (see table below). A rhythm is a series of rhythmic values. Rhythmic values indicate relative duration, not absolute duration. Each rhythmic value is half the duration of the next longer value. Shorter note values (64th notes, etc.) are also possible. breve

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  • Tuplets Grouplets The standard rhythmic values divide into 2 parts, then 4 parts, then 8 parts, and so on (see 1.4 Rhythmic Values). Tuplets (also called grouplets) fill in the gaps between these ratios. The word tuplets may be pronounced “tuplets” or “tooplets.”

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  • Articulations specify how notes should be performed, either in terms of duration or stress. Staccatissimo means extremely shortened duration. Staccato means shortened duration. Tenuto has two functions: it can mean full duration OR a slight stress or emphasis. Accent means stressed or emphasized (more than tenuto). Marcato means extremely stressed. An articulation of duration (staccatissimo, staccato, or

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  • Beats in compound time signatures divide into three division notes, not two. The top number indicates the number of division notes per measure. The bottom number indicates the division rhythmic value (not the beat unit). It takes three division notes (not two) to make one beat.

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  • In this book we trace the development of Media and Cultural Theory from the Enlightenment through to the present day. Along the way we gesture towards a range of contemporary media texts including film, television, journalism, pop music, the Internet. And, indeed, what first attracted us to BookBoon was the opportunity to create a text that we could update and keep fresh; the media industry moves quickly and it is important to be able to revise interpretations in light of this. With this in mind we decided to make the scope of material covered fairly broad, ranging from Edmund Burke’s...

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  • The aesthetic enjoyment we have in music and in the phantasy-feelings to which it gives rise reflects further, however, a special functional relationship between the sound- Gestalten and the feelings we experience: the nature or quality of a given phantasy-feeling depends at least in part on the character of the music which provokes it. As Mach and James, Ehrenfels and Witasek all in different ways recognised, there is a certain similarity between sound-Gestalten on the one hand and the psychical states to which they give rise, a fact which opens up the much wider...

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  • Probably the first commercial to make use of the newly invented principle of abstract composition was Walther Ruttmann’s ‘Der Sieger’, produced by Julius Pinschewer in 1922 for Excelsior tyres, where he adopted many ideas and motifs already present in his 1921 abstract work Opus 1. ‘Der Sieger’ was shot in black and white, coloured by combining toning with hand-colouring (cf Brinckmann, 1997: 263).

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  • Several views on aesthetic preference have been developed during the last century, including Psychoanalysis, Gestalt theory and Empirical Aesthetics. Within the last of these, aesthetic preference has been related with arousal (Berlyne, 1970, 1971), prototypicality (Martindale, 1988; Martindale et al., 1988), and appraisals (Silvia, 2005), among other factors. Potentially, any of these perspectives could serve to ground our interpretation of neuroimaging results.

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  • The behaviour, values and beliefs of parents, families/whānau and other members of their community have a powerful influence on young people’s developing attitudes to drugs. Young people are also influenced by the messages they receive from the media and marketing campaigns. Pop culture, music and music videos, online media and electronic messaging services, television and advertisements can all portray powerful, positive, glamorous images of drug use.

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  • Probability theory began in seventeenth century France when the two great French mathematicians, Blaise Pascal and Pierre de Fermat, corresponded over two problems from games of chance. Problems like those Pascal and Fermat solved continued to influence such early researchers as Huygens, Bernoulli, and DeMoivre in establishing a mathematical theory of probability.

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