in black and white
Main menu
Share a book About us Home
Biology Business Chemistry Computers Culture Economics Fiction Games Guide History Management Mathematical Medicine Mental Fitnes Physics Psychology Scince Sport Technics

Piano for dummies - Neely B.

Neely B. Piano for dummies - IDG Books , 1991. - 353 p.
Download (direct link): pianofordummies1991.pdf
Previous << 1 .. 13 14 15 16 17 18 < 19 > 20 21 22 23 24 25 .. 98 >> Next

Other pedals you can add to your electric keyboard control such things as vibrato (which makes the note sound as if it is warbling), program changes, special effects, acceleration . . . no, I’m sorry, that last one is for a car.
You can sample these various pedals and decide which one’s right for you at your local electric keyboard dealer. The salesperson will be more than happy to show you a whole line of different pedals, hoping that you want to spend even more money. (See Chapter 16 for more helpful information on shopping for keyboards and accessories.)
Part II
Getting Sound Down on Paper
The 5th Wave By Rich Tennant
o ^ »*
.-,?•• ••• ? 11 i i, ? -•-• -••?v.-.v.v-y- • iT-
piece comes -with Accidentals I in ii? You mean I don’t omduoe
1 u _............................ on r
In this part...
t My hen you travel to a foreign land, you should bone WW up on the local language so that you can easily ask for directions, order a cheeseburger, and translate what the people on the elevator are saying about you.
When you travel to your piano to play some music, it’s not only advisable but critical to understand the language of music. That’s what this part is all about — understanding what all those lines and symbols mean and how they translate into the songs that you love to hear and play. Parlez-vous musique?
Chapter 4
Following Horizontal and Vertical Lines
In This Chapter
^ Figuring out all those lines
^ Deciphering what those doo-hickeys stand for
^ Discovering how written notes relate to the keyboard
eees buzzing, computers humming, and power tools (um) power tooling are all sounds that can’t be easily deciphered and written down on paper. In frustration, humans decide that these noises mean nothing to them and move on with their lives. But humans are incapable of being so blas? when it comes to two other types of sound: speech and music. Because this isn’t Speech For Dummies, I’ll cut to the chase.
To play music, you have to know what note to play and when. A piano has 88 keys to play, each sounding a different musical note. (Chapter 3 tells you all about those 88 keys on the keyboard.) With a bunch of lines and dots, a composer tells you which notes to play, which of the 88 keys to press, and how long to play each note. In this chapter, I get you started on how each of these elements is written down in music.
Thou Art With Me, Mi} Ctef, My Staff, and My Motes
When you look at a piece of printed music, like “Humoresque,” the first thing you may notice are a bunch of dots and circles. These dots and circles represent notes. Each written note tells you two essential things:
Ii1 What key to play J1 How long to play that key
Part II: Getting Sound Down on Paper
lIS 4 f •iCrCTrJC'
TO A J-« mp 4 rF-p- i c ? F h—~ dim f p p -
4 , 1 dH— r r ? r * ?—"mt *r'* * —^—m-\. P^ .rr-fr>i
« i r r r P I L ^ ~r • : -j —s ? • P m T . ? c .1—
\S 4 ijH <»• - L-J p- #— ^ 4 4 > 1 9- * » H
J -i.. i 6j d- r^r J“ - -F—f- #= * L-d 1 f * m 9 .....
\=^= cJ cJ 1 > —
ygtd L -J r T f r [J- dim. pr z I * V • /» — —G ? I
y m . - U- 1 |ffr i
It won’t take you long to notice that the notes aren’t out there on the page by themselves. Look at the lines the notes sit on. Without these lines, the notes are ... well, just dots and circles.
Chapter 4: Following Horizontal and Vertical Unas 39
Employing a staff of fi(/e
Writing on lines keeps things looking neat and pretty. Unlike the ruled-paper notebooks you use in school or for your journal, the lines on a music page aren’t there just to make the notes straight.
Figure 4-1 shows a set of the parallel lines you find in music. Count ’em — you should count five, in all. Now count the spaces in between the lines and hopefully you get the number four.
Figure 4-1:
Together, these five lines and four spaces comprise a musical staff. It’s an appropriate name, because a composer “employs” his staff to hold the notes he’s writing. And what a staff to have! No complaining, no vacation time, no tardiness excuses — just some inanimate lines and spaces.
Each line and space represents a specific musical note. The notes are named with the first seven alphabet letters, A-B-C-D-E-F-G, just like the white keys on the keyboard. (You can read more about the letters assigned to each of the keyboard keys in Chapter 3.) Each line and space is also named one of these letters. That way, when you see a note on the G line, you know to play the G key. See how everything is lining up?
Looking at your keyboard, you can see that there are several of each of the seven notes. For example, you see several separate G keys on the keyboard. Obviously, five lines and four spaces aren’t enough to accommodate all 88 keys. Before you panic, realize that you have a few more options.
Hanging from a clef
Rather than adding more lines and spaces to accommodate all the occurrences of each of the seven notes, you get a symbol to help out with the job. Think of it as your secret decoder ring, Captain Music Maker. Look at Figure 4-2 and notice the little squiggly thing at the far left of the staff. This ornamental creature is called a clef.
Previous << 1 .. 13 14 15 16 17 18 < 19 > 20 21 22 23 24 25 .. 98 >> Next