Godfrey, 2013 - Google Patents
Principles of idiomatic guitar writingGodfrey, 2013
View PDF- Document ID
- 16348228803809700973
- Author
- Godfrey J
- Publication year
External Links
Snippet
It is almost impossible to write well for the guitar without being a player on the instrument. The majority of composers who employ it are, however, far from knowing its powers; and therefore they frequently assign it things to play of excessive difficulty, of little sonorousness …
Classifications
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
- G10H1/0041—Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
- G10H1/0058—Transmission between separate instruments or between individual components of a musical system
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/36—Accompaniment arrangements
- G10H1/38—Chord
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0008—Associated control or indicating means
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
- G10D3/06—Fingerboards ; Necks
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/18—Selecting circuits
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
- G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
- G10D3/16—Bows; Guides for bows; Plectra and like playing means
- G10D3/163—Plectra and like playing means; Plectrum holders
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
- G10H7/08—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform
- G10H7/10—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform using coefficients or parameters stored in a memory, e.g. Fourier coefficients
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
- G10H2210/395—Special musical scales, i.e. other than the 12- interval equally tempered scale; Special input devices therefor
- G10H2210/525—Diatonic scales, e.g. aeolian, ionian or major, dorian, locrian, lydian, mixolydian, phrygian, i.e. seven note, octave-repeating musical scales comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10G—AIDS FOR MUSIC; SUPPORTS FOR MUSICAL INSTRUMENTS; OTHER AUXILIARY DEVICES OR ACCESSORIES FOR MUSIC OR MUSICAL INSTRUMENTS
- G10G1/00—Means for the representation of music
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H3/00—Instruments in which the tones are generated by electromechanical means
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H5/00—Instruments in which the tones are generated by means of electronic generators
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D1/00—General design of stringed musical instruments
- G10D1/12—General design of stringed musical instruments of zithers, e.g. autoharp
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
- G10H2230/045—Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D1/00—General design of stringed musical instruments
- G10D1/08—General design of stringed musical instruments of guitars
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D9/00—Details of, or accessories for, wind musical instruments
- G10D9/04—Valves; valve controls
- G10D9/043—Valves; valve controls for woodwind instruments
- G10D9/046—Valves; valve controls for woodwind instruments with continuous change of tonal pitch
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARD
- G10C3/00—Details or accessories
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B15/00—Teaching music
- G09B15/001—Boards or like means for providing an indication of chords
- G09B15/002—Electrically operated systems
Similar Documents
| Publication | Publication Date | Title |
|---|---|---|
| Pease et al. | Modern jazz voicings: Arranging for small and medium ensembles | |
| Blatter | Revisiting music theory: a guide to the practice | |
| Sebesky | The contemporary arranger | |
| Sevsay | The cambridge guide to orchestration | |
| Jones | Understanding basic music theory | |
| Godfrey | Principles of idiomatic guitar writing | |
| Leavitt | A Modern Method for Guitar-Volume 1: Guitar Technique | |
| Frengel | The unorthodox guitar: a guide to alternative performance practice | |
| Gates | Arranging for horns | |
| David | Jazz Arranging | |
| Turbenson | An Analysis of Villa Lobos's' Twelve Etudes for Guitar' | |
| Dickreiter | Score reading: a key to the music experience | |
| Botting | Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations | |
| Zhang | Helmut Lachenmann’s Serynade: An Analysis and Realization of Instrumental Musique Concrète | |
| Nickol | Learning To Read Music 3rd Edition: How to make sense of those mysterious symbols and bring music alive | |
| Heagney | Peter Klatzow's Six Concert Etudes for Marimba: a performer's guide | |
| Leung | The Pedagogical Value of Domenico Gabrielli’s Seven Ricercari | |
| Knapp | Chords | |
| Wilder | Arrangements for Guitar Trio With Commentary | |
| Anspach | Lyrical Etudes for the Intermediate and Advanced Horn Player | |
| Vaughan | Creating an Orchestral Reduction for the Second Movement of Edison Denisov’s Piano Concerto, Written for Two Pianos and Percussion | |
| McGuary | The Procedures and Considerations for Creating Performance Editions of JS Bach’s Sonatas and Partitas for Solo Violin for the Tenor, Bass, and Alto Trombones | |
| Phillips | Dan Forrest's Sonata for Trombone and Piano (2005): A Performance Guide | |
| Brinkman | How to orchestrate and arrange music | |
| Fourla | Expansion of the Flute Romantic Repertoire: Transcriptions of Chopin’s" Polonaise-Fantaisie, Op. 61," and" Ballade No. 4, Op. 52" for Flute and Piano |