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TIPCODES MUSIC ON PAPER | Tipcode: |
MOP-001Here's the first line of Twinkle, Twinkle, showing you which key to play for each syllable. |
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MOP-002The notes from one Do to the next, and the interval from one Do to the other: the octave. |
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MOP-003The key to the left of each group of two black keys is a C. The key to the left of three black keys in an F. |
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MOP-004If you play from one key to the next, you'll be playing half steps. |
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MOP-005Here's Twinkle, Twinkle again, now showing the notes for each syllable. |
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MOP-006The keys of the notes between the two staffs are shown in grey. |
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MOP-007A bit of salsa: reading two staffs, playing dotted notes (page 36), ties (page 37), and syncopated notes (page 158). |
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MOP-008This Tipcode plays the chords above as regular chords first (all notes at the same time), then note for note. |
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MOP-009Four beats on a metronome, followed by the rhythm of the first bars of Baa Baa Black Sheep: four quarter notes, four eighth notes, and a half note. |
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MOP-010Four beats on the metronome followed by one whole note, two half notes, four quarter notes, eight eighth notes and sixteen sixteenth notes. |
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MOP-011The two dotted quarter notes last three beats, just like the dotted half note – but they don't sound the same, of course. |
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MOP-012The last note of each bar continues in the next bar. Ties can do that. Dots can't. |
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MOP-013Two sets of two bars of triplets on a snare drum. |
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MOP-014Quarter-note triplets played against the steady beat of a metronome. The quarter-note triplet is a basic polyrhythmic pattern. |
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MOP-015Sextuplets on a snare drum. |
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MOP-016This is what quintuplets and septuplets sound like. |
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MOP-017Twinkle, Twinkle in F. The first two notes on the second line sound too high. Tipcode MOP-018 plays the solution. |
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MOP-018We've solved the problem of MOP- 017 by turning the two B notes into B-flats (B ). This is what the song is supposed to sound like! |
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MOP-019The first sharp at the clef turns everyFofhepieceintoanF ;the second sharp raises all Cs. |
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MOP-020A natural sign suspends the flats or sharps in that same bar and of that same pitch only. |
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MOP-021The G⌗ and Ab sound the same pitch, but they're not the same notes. This melody demonstrates the difference. |
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MOP-022Twinkle, Twinkle in D. The F notes sound too low. Sharps solve the problem. |
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MOP-023This Tipcode plays the crescendo from the example on this page. |
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MOP-024Metronome at 240 (prestissimo), 200 (presto), 168 (presto/allegro), 120 (allegro/moderato), 108 (moderato/andante), 76 (andante/ adagio), 60, and 40 (largo). Tip: 60 equals one beat per second; 240 means four beats per second. |
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MOP-025Notes without and with accents. |
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MOP-026A staccato note sounds shorter, but its duration doesn't change. |
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MOP-027Letting go of one key after you've played the next... |
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MOP-028A phrase with legato slurs and an accent. |
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MOP-029Pizzicato: plucking the strings of a bowed instrument. |
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MOP-030This Tipcode plays most of the ornaments in this chapter, from a trill on the piano to a fall on an electric guitar. |
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MOP-031A-minor is the one minor scale that you can play with white keys only, from one A to the next. |
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MOP-032Playing the white keys from F to F doesn't sound like a major scale. Lowering the B restores the correct order of Ws and Hs. |
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MOP-033A-minor on piano. |
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MOP-034This Tipcode demonstrates the difference between major and minor scales. |
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MOP-035Listen to the eight basic intervals of the C major scale. |
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MOP-036This Tipcode plays the perfect intervals... |
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MOP-037... and here are the major intervals. |
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MOP-038The intervals in a major scale: perfect and major when going up (low to high); perfect and minor when going down (high to low). |
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MOP-039In the Middle Ages, the tritonus was known as 'the devil in music'. |
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MOP-040The dissonant intervals:• Minor • Major • Augmented • Diminished |
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MOP-041The consonant intervals:• Perfect • Minor • Major |
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MOP-042Tension and release. |
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MOP-043Everybody knows this melody – and even if you don't, you can sing the last note. |
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MOP-044The same melody without and with a leading note. The effect of the added sharp is quite obvious. |
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MOP-045Melody in melodic minor. The B is raised with a natural sign; the C is raised with a sharp. |
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MOP-046Same choice of notes, different character: F major and D minor. |
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MOP-047This TIpcode demonstrates all non-diatonic scales in this chapter: chromatic, hexatonic, octatonic, pentatonic, a blues scale, and a gypsy scale. |
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MOP-048When saxophone players read a C5, these are the concert pitches you will hear them play. The soprano sounds a whole step below C5, the alto a sixth. The tenor sounds a octave below the soprano, the baritone an octave below the alto. |
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MOP-049Six beats to the bar, each bar clearly divided in two groups of three. |
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MOP-0505/4 on drums, counted as 3+2. |
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MOP-051The same melody played twice. First in straight eighths, as it's written; then in swing, the way it was intended. |
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MOP-0523-2 and 2-3 claves, played on claves. |
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MOP-053First, you'll hear three chords in their root positions (first column, page 178). Inverting G7, as shown in the second column, makes the sequence sound more musical – and it's easier to play, too. |
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MOP-054This is what the bass line on this page sounds like, played on a guitar. |
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MOP-055Here's the rock beat shown above. In the first four bars, the drummer plays the eighth cymbal notes on a closed hi-hat, switching to the ride cymbal for the final four bars. |
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MOP-056This Tipcode clearly demonstrates the difference between 440 and 442Hz. It may be hard to hear the difference, until they’re played simultaneously! |
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MOP-057A mesa di voce, performed by a classical soprano. |
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MOP-058Here's what Twinkle, Twinkle on page 172 sounds like. |
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MOP-059A more advanced rendition of Twinkle, Twinkle, as shown on this page. |
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MOP-060The four triads in the table above: major, minor, diminished, augmented. |
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MOP-061Turning the B from a G7 chord into the bottom note. |
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MOP-062Four syncopated notes in one bar. More examples of synopation can be heard in Tipcodes MOP-007 (salsa) and MOP-052 (the clave), and in funk, jazz, and other styles of music. |
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MOP-063This is what the blues on the previous page 185 sounds like. |