Multiply (In A Minor Key)
Brace A brace is used to connect two or more lines of music that are played simultaneously, generally when using a grand staff. The grand staff is used for piano, harp, and some pitched percussion instruments. A G clef with the spiral on the second line of the staff is called Multiply (In A Minor Key) clef. Alto clef Tenor clef. The first illustration here is centered on the third line on the staff, making that line middle C. When placed there, the clef is called alto clefwhich is mainly used for the viola but is sometimes used for other instruments.
The second illustration shows the clef centered on the fourth line—this clef is called tenor clef. Tenor clef is used for bassooncellotromboneand double bass when the notes get very high, avoiding the use of excessive ledger lines. Until the classical era, C clefs were frequently seen pointing to other lines it is sometimes called a "movable clef"mostly in vocal music, but this has been supplanted by the universal use of the treble and bass clefs.
Modern editions of music from such periods generally rewrite the original C-clef parts to either treble female voicesoctave treble tenorsor bass clef tenors and basses. The C clef was sometimes placed on the third space of the staff equivalent to an octave treble clef but this usage is unusual since all other modern clefs are placed on lines.
Bass clef appears nearly as often as treble clef in modern music notation. In older notation, particularly for vocal music, F clefs were sometimes centered on the third line baritone clef but this usage has essentially become obsolete. Octave clef Treble and bass clefs can be modified by octave numbers. An "8" below the clef as in the diagram indicates that pitches will sound an octave lower than they would with the unmodified clef.
A "15" below indicates a two-octave shift. These numbers may also be used above the clef to indicate pitches one or two octaves higher. A treble clef with an eight below is the most common version, typically used in music for guitar or tenor voice. On a 5-line staff On a single-line staff. Neutral clef Used for pitchless instruments, such as percussion instrumentsthis is not a true clef—the lines and spaces do not indicate pitches. Instead, they indicate specific instruments, such as the different individual instruments in a drum set.
It may also be drawn with a single-line staff for single percussion instruments. Tablature Also not a true clef—the lines and spaces do not represent pitches—tablature notation is used in place of ordinary staff notation for some string instruments, such as the guitar.
The lines represent the strings of an instrument for standard 6-stringed guitars, six lines would be used. Numbers on the lines show which fret to use. Because the lines represent strings rather than pitches, the spaces between the lines are never used. Beamed notes Eighth notes quavers and shorter notes have flags to indicate their duration, but beams can be used instead of flags to connect groups of these notes. This is usually done to indicate a rhythmic grouping but can also be used to connect notes in ametrical passages.
The number of beams is equivalent to the number of flags on the note value—eighth notes are beamed together with a single beam, sixteenth notes with two, and so on. In older printings of vocal music, the use of beams is sometimes reserved for notes that are sung on one syllable of text melisma.
Modern notation of vocal music encourages the use of beaming in a consistent manner with instrumental engraving, however. In non-traditional meters beaming is at the discretion of composers and arrangers and can be used to emphasize a rhythmic pattern. Dotted note Placing a dot to the right of a notehead lengthens the note's duration by one-half.
Additional dots lengthen the previous dot instead of the original note, thus a note with one dot is one and one half its original value, a note with two dots is one and three quarters—use of more than two dots is rare. Rests can be dotted in the same manner as notes. Ghost note A note with a rhythmic value, but no discernible pitch when played. It is represented by a saltire cross similar to the letter x for a notehead instead of an oval.
Composers will primarily use this notation to represent percussive pitches. This notation is also used in parts where spoken words are used. Multi-measure rest A compact way to indicate multiple measures of rest. Also called gathered rest or multi-bar rest. Breath mark This symbol tells the performer to take a breath for aerophones or leave a slight space for other instruments. This space does not affect the tempo. For instruments that employ a bowit indicates to lift the bow and start the next note with a new bowing.
Caesura A pause during which time is not counted. Flat Lowers the pitch of a note by one semitone. Sharp Raises the pitch of a note by one semitone. Natural Renders null a sharp or flat. The sharp or flat may have been indicated as an accidental or defined by the key signature. Double flat Lowers the pitch of a note by two semitones.
Usually used when the note is already flat in the key signature. Double sharp Raises the pitch of a note by two semitones. Usually used when the note is already sharp in the key signature. Demiflat Lowers the pitch of a note by one quarter tone. Another notation for the demiflat is a flat with a diagonal slash through its stem.
In systems where pitches are divided into intervals smaller than a quarter tone, the slashed flat represents a lower note than the reversed flat. Flat-and-a-half sesquiflat Lowers the pitch of a note by three quarter tones. As with a demiflat, a slashed double-flat symbol is also used. Sharp-and-a-half sesquisharp Raises the pitch of a note by three quarter tones. Occasionally represented with two vertical and three diagonal bars instead. Harmonic flat Lowers the pitch of a note to a pitch matching the indicated number in the harmonic series of the root bottom of the chord.
Simple time signatures This example shows that each measure is the length of three quarter notes crotchets. Compound time signatures In a compound meter, there is an additional rhythmic grouping within each measure. This example shows 6 8 time, indicating 6 beats per measure, with an eighth note representing one beat. The rhythm within each measure is divided Multiply (In A Minor Key) two groups Multiply (In A Minor Key) three eighth notes each notated by beaming in groups of three.
This indicates a pulse that follows the eighth notes as expected along with a pulse that follows a dotted quarter note equivalent to three eighth notes. Have you heard the theory? It's got a lot of credibility, as you'd be hard pressed to find one that's got as much soul or funk as, say, James Brown or Bootsy Collins or whoever. And yet, making a sweeping statement like that isn't entirely accurate - I've known black guys who couldn't funk if they were shown exactly how, and for proof that white guys can do it too, I present: Jamie Lidell.
Jamie Lidell released his debut, Multiplyin to pretty much universal acclaim. It's a record that mixes funk with really soulful vocals, almost Al Green-ish in his Multiply (In A Minor Key) improvisations, and throws some cutting edge electro sounds into the mix as well - more than one track breaks down in a hail of electro, synth madness, and pulls it back from the brink to a rhythmic, groovy beat.
He recently released Multiply Additionsan album of remixes and reworkings from Multiply, featuring a whole host of great names, as follows The City What Is It This Time What Is It This Time? Whats the Use? When I Come Back Around Cheeeek that out dude. Lead RIFFs:. Bad selection. Save Cancel. Really delete this comment? Yes No. A Little Bit More.
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