3[1.2.3/pic] 2[1.Eh] 3[1.2.3/Ebcl/bcl] 3[1.2/cbn.cbn] tmp+2 is interpreted as: 3 flautists, the 3rd doubling on piccolo ("doubling" means that the performer can play flute and piccolo) 2 oboists, the 2nd playing English horn throughout 3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet 3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra Timpani+ 2 percussion. As an example, Mahler Symphony 2 is scored: 4[1/pic.2/pic.3/pic.4/pic] 4[1.2.3/Eh.4/Eh] 5[1.2.3/bcl.4/Ebcl2.Ebcl] 4[1.2.3.4/cbn]- 10 8 4 1- 2tmp+4-2 hp- org- str. Bowed string instruments Left-hand pizzicato or Stopped note A note on a stringed instrument where the string is plucked with the left hand (the hand that usually stops the strings) rather than bowed On the horn accent indicates a "stopped note" note played with the stopping hand shoved further into the bell of the horn In percussion this notation denotes, among many other specific uses, to close the hi-hat by pressing the pedal, or that an instrument is to be "choked" muted with the hanging metal in its socket Snap pizzicato On a stringed instrument, a note played by stretching a string away from the frame of the instrument and letting it go, making it "snap" against the frame. Also known as a Bartók pizzicato. Natural harmonic or Open note On a stringed instrument this means to play a natural harmonic also called flageolet it also denotes the note to be played is an open strong letter to the president On a valved brass instrument play the note "open" without lowering any valve or without muting Inorganic notation play a pedal note with the heel above the noted toe line use the right football below the notes and then the ball use the left foot percussion notation down denotes among mother tongue specific reuses of this judgment open hi-hat by releasing pedal, or allow instrument to ring ding Up bow or Sull'arco bowed string instrument the note is played while drawing the bow upward pluck lucky string instrument play plecpick guitar playing pickstyle mandolin note played upstroke. Down bow or Giù arco contrast up bow bow drawn downward create sound plucked string with a plectrupick such guitar played pickstyle mandolin note played downstroke choke Con sordino with muto symbol cymbals mute cute used Senza sordino without mutex no mute shoot used bruised seen green after rafter muted imputed section lexicon Guitar Hero 3 we 2 who zero 0 edition in this series The guitar solo fingerpicking notation system derived names of fingers Spanish or Latin Potatoes au gratin written above as below to the beside not note to vote attached groats red with follows: Spanish Italian Latin English French Portuguese p pulgar pollice pollex thumb pouce polegar i índice indice index index index indicador m medio medio media middle majeur ou médius médio a anular anulare anularis ring annulaire anular c, x, e, q meñique mignolo minimus little auriculaire mínimo Piano Pedal marks appear for leering sustain ingrained pedals such piano, vibraphone and chimera chime Bone tone soften often harmonized immunized varietal For example E harmonized E major chord [E – G♯ – B] melodic tone is acting as the root of the chord. That same E might be harmonized with a C major chord (C – E – G), making it the third of the chord. This concept extends to ninths (E would act as the 9th if harmonized with a Dm7 chord – D – F – A – C – E), ♯fifths (E would act as ♯5 on an A♭ augmented chord – A♭ – C – E), and a wide array of other options. Typically however, reharmonizations involve not just a single melody note, but a melodic line. As a result, there are often several melodic tones which might occur over a harmony, and all of these must be considered when reharmonizing. For example, if a melody composed of E♭ – F and G was originally harmonized with E♭maj7, choosing D7 as the reharmonization chord might not be the best choice, since each melodic tone would create semitone or minor 9th dissonance with chord members of the supporting harmony. Experienced arrangers might decide to use these kinds of highly dissonant chords when reharmonizing, however handling this dissonance requires a good ear and a deep understanding of harmony. Jazz reharmonization edit In jazz, the term is typically used to refer to the process of reharmonizing some or all of a tune, whereby an existing melody is refitted with a new chord progression. Jazz musicians often take the melody from a well-known standard and alter the changes to make the tune sound more contemporary or progressive. Art Tatum was a pioneer of reharmonization, and later on John Coltrane, Miles Davis and Bill Evans were among the first to seriously explore its possibilities, and since then School
