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Music notation: A South African guide [Pehme köide]

  • Formaat: Paperback / softback, 239 pages, kaal: 815 g
  • Ilmumisaeg: 28-Feb-2012
  • Kirjastus: Unisa Press
  • ISBN-10: 1868885682
  • ISBN-13: 9781868885688
Teised raamatud teemal:
Music notation: A South African guideSuurem pilt
  • Formaat: Paperback / softback, 239 pages, kaal: 815 g
  • Ilmumisaeg: 28-Feb-2012
  • Kirjastus: Unisa Press
  • ISBN-10: 1868885682
  • ISBN-13: 9781868885688
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781868885688.html
Märksõnad:
Music notation: a South African guide presents a new and uniquely South African approach to learning about staff notation - especially for musicians who are educated in the tonic solfa system. As they work through the book, learners build up an understanding of each aspect of notation by experiencing it as music. Tonic solfa is used in the earlier chapters to help learners relate the sounds to the concepts. In addition, the free CD offers 99 music clips played on a keyboard, illustrating some of the examples of notation given in the book. The book is aimed at mature school pupils and adult learners whose first language may not be English. However, it will be useful to students of music from any sector of society, whether they are enrolled in a formal course or want to find out more on their own. Each chapter is devoted to particular aspects of notation. Most of the chapters are built around a piece of music generally familiar to South Africans. Because South Africa has a strong vocal and choral culture, examples are often drawn from the choral repertory. The book and CD include many examples of South African music, as well as samplings of classical western music from all eras, and jazz. Examples and exercises are drawn from this rich representation, and by means of self tests learners steadily become confident in reading and writing music in staff notation. They will also build up a strong knowledge of how music works, by seeing the structures of a wide range of music from diverse cultures in South Africa.
Preface and acknowledgements xv
Foreword xvii
1 Tonic solfa
1(12)
1.1 Tonic solfa notation
1(1)
1.2 Tonic solfa pitch names
1(1)
1.3 High and low pitch
2(1)
Self-assessment exercise 1A
2(1)
1.4 Tonic solfa pitch
3(1)
1.5 Altered notes: sharps and flats
4(4)
Self-assessment exercise 1B
7(1)
1.6 Duration and rhythm in tonic solfa
8(1)
1.7 Bars in tonic solfa
8(1)
1.8 Uses of tonic solfa notation
9(1)
1.9 Held notes and rests in tonic solfa
10(3)
Chapter 1 Summary exercise
11(2)
2 From tonic solfa to staff notation
13(14)
2.1 `Baba Wethu Ophezulu' in tonic solfa notation
13(1)
2.2 `Baba Wethu Ophezulu' in tonic solfa and staff notation
14(2)
2.3 Pitch in staff notation
16(1)
Self-assessment exercise 2A
17(1)
2.4 Notating lines of music and rhythms
17(1)
2.5 Notating note values or durations
17(3)
Self-assessment exercise 2B
18(2)
2.6 Pitch in staff notation
20(1)
2.7 Treble clef
20(1)
2.8 How to write the treble clef
21(1)
2.9 Notes in spaces and notes on lines
21(1)
2.10 Low and high notes with same letter
22(1)
2.11 D below the staff
22(5)
Chapter 2 Summary exercise
23(4)
3 The piano keyboard
27(8)
3.1 The piano keyboard and staff notation
27(1)
3.2 Keyboard posture
27(1)
3.3 Some famous South African pianists
28(1)
3.4 Patterns of keys over the keyboard
28(1)
3.5 Hands and fingering
29(1)
3.6 Pitch names on the keyboard
30(1)
Self-assessment exercise 3A
30(1)
3.7 Playing notes on the keyboard
31(1)
3.8 Heads and stems
32(1)
3.9 Principle of stem direction
32(3)
Chapter 3 Summary exercise
33(2)
4 Rhythm and the extended staff
35(13)
4.1 Dotted notes: `Masithi! Amen'
35(1)
4.2 Dotted two-count note
36(1)
4.3 Ties and tied notes
36(1)
Self-assessment exercise 4A
37(1)
4.4 Leger lines
37(1)
4.5 Octaves
38(2)
Self-assessment exercise 4B
39(1)
4.6 Notating keyboard music: Bach's `Minuet in G'
40(1)
4.7 Half-count notes
41(1)
4.8 French time names
41(2)
4.9 Two-count and three-count notes
43(1)
4.10 Different ways of notating rhythm
43(2)
Self-assessment exercise 4C
44(1)
4.11 Names of note values
45(3)
Chapter 4 Summary exercise
45(3)
5 Dotted crotchets and the bass clef
48(13)
5.1 `Thuma Mina'
48(1)
5.2 Dotted crotchets
48(3)
Self-assessment exercise 5A
49(2)
5.3 Bass clef: `Beethoven's Ninth'
51(1)
5.4 Writing the bass clef
52(1)
5.5 Notes in the bass clef (Trk 18)
53(1)
Self-assessment exercise 5B
53(1)
5.6 Leger lines in the bass clef: Borodin's `Nocturne'
54(7)
Chapter 5 Summary exercise
56(5)
6 Time signatures, rests, and the grand staff
61(10)
6.1 Time signatures
61(1)
6.2 Upper and lower figures in time signatures
61(1)
6.3 2/4 time: `Little Hare is Hiding'
61(1)
6.4 Bars and barlines
62(1)
6.5 Rests
62(2)
Self-assessment exercise 6A
64(1)
6.6 2/4 time: `AUM Jay Jagadisha Hare'
64(2)
6.7 Rhythms in 2/4 time
66(1)
6.8 The `grand staff'
66(5)
Chapter 6 Summary exercise
69(2)
7 4/4 time and transcription
71(13)
7.1 `Nkosi Sikelel' iAfrika'
71(3)
7.2 Rhythms in 4/4 time
74(3)
Self-assessment exercise 7A
76(1)
7.3 Transcription from tonic solfa to staff notation
77(1)
7.4 John Knox Bokwe's transcription of `Ntsikana's Hymn'
77(7)
Chapter 7 Summary exercise
82(2)
8 Major keys and aural exercises
84(9)
8.1 Scale of C major
84(2)
8.2 Key of C major and keynote
86(1)
Self-assessment exercise 8A
86(1)
8.3 Playing the scale of C major
87(2)
8.4 Aural exercise 1: Singing scales at the keyboard
89(1)
8.5 Aural exercise 2: Singing intervals at the keyboard
89(4)
Chapter 8 Summary exercise
91(2)
9 G major and F major
93(15)
9.1 G major
93(1)
9.2 String quartet notation
94(1)
Self-assessment exercise 9A
94(1)
9.3 Key of G major
95(1)
9.4 In the keys of C major and G major
95(1)
9.5 Scale of G major
96(1)
9.6 Semitones in a major scale
97(4)
Self-assessment exercise 9B
99(2)
9.7 F major: Giordani's `Caro Mio Ben'
101(1)
9.8 Key signature of F major
102(1)
9.9 F major and C major
102(1)
9.10 Scale of F major
103(2)
9.11 The natural sign
105(1)
9.12 Importance of the barline
106(2)
Chapter 9 Summary exercise
106(2)
10 Rhythms with a jazz feel
108(10)
10.1 Syncopation: `The Click Song'
108(3)
Self-assessment exercise 10A
110(1)
10.2 Syncopation in popular music
111(1)
10.3 Beginning with an upbeat
111(2)
Self-assessment exercise 10B
112(1)
10.4 Dotted quaver - semiquaver
113(1)
10.5 New French time names
114(1)
10.6 Rhythms using dotted crotchets and dotted quavers
115(3)
Chapter 10 Summary exercise
116(2)
11 African music and Western staff notation
118(11)
11.1 African oral tradition and notation
118(1)
11.2 Notating African music
119(1)
11.3 The hexatonic bow scale
120(2)
11.4 uhadi and umrhubhe
122(1)
11.5 Fundamentals and harmonics
122(5)
Self-assessment exercise 11A
126(1)
11.6 Xhosa bow harmony in `uQongqothwane'
127(2)
Chapter 11 Summary exercise
128(1)
12 Western melody, expression, and 3/4 time
129(6)
12.1 Western melody: `Mintirho ya Vulavula'
129(1)
12.2 Melodic range
129(1)
12.3 3/4 time
130(1)
12.4 Whole bar's rest
131(2)
12.5 Use of tempo and rests in melody
133(2)
Chapter 12 Summary exercise
133(2)
13 African melody and Western notation
135(11)
13.1 African melody: `The Great Hymn of Ntsikana'
135(1)
13.2 3/4 time used in a transcription
136(2)
Self-assessment exercise 13A
137(1)
13.3 Signs and terms
138(1)
13.4 Da capo form, first-time and second-time bars
138(1)
13.5 Different kinds of barlines
138(1)
13.6 Pauses
139(1)
13.7 Rests in `Ntsikana's Hymn'
139(1)
13.8 French time names for rests
140(2)
Self-assessment exercise 12B
141(1)
13.9 The Xhosa bow scale in `Ntsikana's Hymn'
142(1)
13.10 Western harmony in `Ntsikana's Hymn'
143(3)
Chapter 13 Summary exercise
144(2)
14 Accidentals, semitones and tones
146(6)
14.1 Notes outside the key: `Now und Zen'
146(1)
14.2 Accidentals and semitones
147(1)
14.3 Names of the black and white keys on a keyboard
147(2)
Self-assessment exercise 14A
148(1)
14.4 Semitones
149(1)
14.5 Tones
149(3)
Chapter 14 Summary exercise
150(2)
15 Grouping notes
152(6)
15.1 Simple time
152(1)
15.2 Note values in Western staff notation
152(1)
15.3 Grouping of notes
153(1)
15.4 The first principle of grouping
153(1)
15.5 The second principle of grouping
154(1)
15.6 The third principle of grouping
154(1)
15.7 The fourth principle of grouping
155(1)
15.8 Ligature or beam
155(3)
Chapter 15 Summary exercise
155(3)
16 More major keys, and expression marks
158(10)
16.1 D major: `Die Stem van Suid-Afrika'
158(1)
16.2 Key signature and scale of D major
159(2)
16.3 Scales with/without key signature
161(2)
16.4 Music with/without key signature
163(1)
Self-assessment exercise 16A
163(1)
16.5 Expression marks
164(1)
16.6 Dynamics
165(3)
Chapter 16 Summary exercise
166(2)
17 B-flat major and A major
168(14)
17.1 Key and scale of B-flat major: `Silusapho Lwase Afrika'
168(2)
17.2 The key of `Silusapho': B-flat major
170(2)
Self-assessment exercise 17A
172(1)
17.3 Sequence of flats in the key signature
172(1)
17.4 Same sounds, different names
173(1)
Self-assessment exercise 17B
173(1)
17.5 A major: `U Ea Kae?'
174(2)
17.6 Key and scale of A major
176(2)
17.7 The last sharp in a sharp key signature
178(1)
17.8 The last flat in a flat key signature
178(4)
Chapter 17 Summary exercise
178(4)
18 Triplets, scale writing, and 6/8 time
182(13)
18.1 Triplet quavers
182(1)
18.2 Triplets and syncopation
183(1)
Self-assessment exercise 18A
183(1)
18.3 Twelve different ways of writing scales
184(1)
18.4 Showing semitones with slurs
185(1)
18.5 Singing and playing scales
185(1)
18.6 Different positions of the keynote
185(4)
Self-assessment exercise 18B
186(3)
18.7 Time signature of 6/8: `How Beautiful are the Feet'
189(1)
18.8 Grouping of quavers in 6/8
190(1)
18.9 Beats in 6/8
191(4)
Chapter 18 Summary exercise
193(2)
19 The minor key, 9/8, and 12/8
195(8)
19.1 Major and minor
195(1)
19.2 The lah mode
195(1)
19.3 Natural minor scale
196(1)
19.4 Harmonic minor scale
196(1)
19.5 Melodic minor scale
196(1)
19.6 Relating minor to major
197(1)
Self-assessment exercise 19A
197(1)
19.7 6/8 and 2/4 compared
198(1)
19.8 9/8 time: `Jesu Joy of Man's Desiring'
198(2)
Self-assessment exercise 19B
199(1)
19.9 12/8 time: `He Shall Feed His Flock'
200(1)
19.10 Simple and compound time
200(3)
Chapter 19 Summary exercise
201(2)
20 Modulation, and the minor key
203(9)
20.1 Modulation
203(2)
20.2 A minor
205(1)
20.3 Accidentals in the key
206(1)
20.4 D minor
206(1)
20.5 E minor: `Behold and See'
207(1)
20.6 Metronome mark
208(4)
Chapter 20 Summary exercise
208(4)
21 Cycle of fifths
212(6)
21.1 Construction of the major scale
212(1)
21.2 The cycle of fifths
212(2)
21.3 Relative major
214(1)
21.4 Cycle of fifths in minor keys
215(1)
21.5 The double sharp
216(2)
Chapter 21 Summary exercise
217(1)
22 Diatonic intervals
218(11)
22.1 Intervals: `Liphala'
218(1)
22.2 Diatonic intervals in the major scale
219(1)
22.3 Melodic and harmonic intervals
219(1)
22.3 Intervals in F major
219(1)
22.5 Measuring intervals
220(2)
Self-assessment exercise 22A
222(1)
22.6 Names of intervals in the major scale
222(1)
22.7 Harmonic intervals
223(1)
22.8 Intervals in the minor scale
223(2)
22.9 Medieval theory of consonance-dissonance
225(4)
Chapter 22 Summary exercise
227(2)
23 Chromatic intervals
229(13)
23.1 The chromatic scale
229(1)
23.2 Identifying and writing chromatic intervals
230(1)
23.3 Aural exercises in chromatic intervals
230(2)
23.4 Naming diatonic and chromatic intervals
232(2)
Self-assessment exercise 23A
233(1)
23.5 Other possible intervals
234(1)
23.6 Hearing and remembering intervals
234(1)
23.7 Chromatic intervals above C
235(1)
23.8 Chromatic intervals above D
235(1)
23.9 Chromatic intervals above E
235(1)
23.10 Chromatic intervals above B-flat
236(1)
23.11 Short cut to recognising intervals
236(1)
23.12 Intervals with and without key signature
236(2)
Self-assessment exercise 23B
237(1)
23.13 Other intervals in the major key
238(1)
23.14 Expressive use of keys and intervals
238(1)
23.15 Recognising shifting keys
239(1)
23.16 Handel's use of intervals
239(1)
23.17 Intervals as the basis of harmony and polyphony
240(2)
Chapter 23 Summary exercise
240(2)
24 Cyclic form in folk music and jazz
242(10)
24.1 Cyclic form in Africa
242(1)
24.2 Circular notation
242(1)
24.3 Cyclic form in European rounds
243(2)
24.4 Cyclic form in popular music and jazz
245(1)
24.5 Popular song form
245(1)
24.6 Endings in cyclic music
246(1)
24.7 Cyclic structure in the blues
246(1)
24.8 The form of the twelve-bar blues
247(1)
24.9 Cyclic structure in African music
248(1)
24.10 Cyclic structure with multiple entries of voices
248(4)
Chapter 24 Summary exercise
249(3)
25 African cyclic form
252(7)
25.1 Cycles and pulses
252(3)
25.2 Feeling different beats
255(1)
25.3 Interlocking rhythm
255(1)
25.4 Interlocking and inherent melody
256(3)
Chapter 25 Summary exercise
257(2)
26 Triads and chords
259(13)
26.1 Western harmony and chords
259(1)
26.2 Simultaneous sounds
259(1)
26.3 Triads
260(2)
26.4 Seventh chords (or quartads)
262(1)
26.5 Root, third, fifth, seventh
263(1)
26.6 Diatonic and chromatic chords
263(1)
26.7 Triads in root position
264(1)
26.8 Names of degrees of the scale
265(2)
Self-assessment exercise 26A
266(1)
26.9 Root position and inversions
267(1)
26.10 Harmonising at the keyboard
267(2)
Self-assessment exercise 26B
268(1)
26.11 Adjacent harmony
269(1)
26.12 Mbira harmony
270(2)
Chapter 26 Summary exercise
271(1)
27 Modes in Western and African music
272(7)
27.1 Modes and scales
272(1)
27.2 Heptatonic and hexatonic scales
273(1)
27.3 Pentatonic scales
273(1)
27.4 Pentatonic scale transposed
274(1)
27.5 Major pentatonic and its transpositions
274(1)
27.6 Minor pentatonic
275(1)
27.7 Intervals in different scales
275(1)
27.8 Other pentatonic scales
275(1)
27.9 Whole-tone scale
275(1)
27.10 Whole-tone scale transposed
276(3)
Chapter 27 Summary exercise
277(2)
28 Modes in art music, folksong, and jazz
279(9)
28.1 Modes in Western art music
279(1)
28.2 The seven early Christian modes
279(2)
28.3 The modal system in world folk music
281(2)
Self-assessment exercise 28A
282(1)
28.4 The blues scale in jazz
283(5)
Chapter 28 Summary exercise
284(4)
29 Introduction to basic harmony
288(3)
29.1 Harmonising melody with I, IV, V: The blues
288(1)
29.2 The blues chord progression
288(1)
29.3 Seventh chords in jazz
289(2)
Chapter 29 Summary exercise
289(2)
30 Cadences in major and minor keys
291(12)
30.1 Primary chords and cadences
291(1)
30.2 I, IV, V in cadences
291(1)
30.3 Cadential progressions
292(1)
30.4 Analysis and theory of music
292(1)
30.5 Cadences in practice
292(1)
30.6 Cadences in theory
292(2)
Self-assessment exercise 30A
294(1)
30.7 Use of triads and seventh chords in harmony
294(2)
30.8 Ending with a perfect cadence
296(1)
30.9 Voicing, spacing, and doubling
296(2)
Self-assessment exercise 30B
297(1)
30.10 Naming and playing cadences in major keys
298(1)
30.11 Cadences in minor keys
299(1)
30.12 Parallel minor keys
299(1)
30.13 Measuring major and minor triads
300(3)
Chapter 30 Summary exercise
301(1)
Coda: Harmony in four parts
301(2)
References 303(4)
Index 307(10)
List of tracks on CD, 01-99 317
Christine Lucia retired from Wits University in 2007 and is now Extraordinary Professor at Stellenbosch University. She is the author of The World of South African Music: A Reader (2005)