Where results make sense

About us   |   Why use us?   |   Reviews   |   PR   |   Contact us

Topic: Treble-bar

    Note: these results are not from the primary (high quality) database.

Ads by Google

In the News (Thu 24 Dec 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

HebrideanLaddie.html Bar 7 - 8: 4 Treble Shuffles (or ordinary Shuffles) springing LF RF LF RF (5 and and a 6 and and a 7 and and an 8 and and a). Bar 7 - 8: 4 Treble Shuffles Springing LF RF LF RF. Bar 7 - 8: 4 Treble Shuffles springing LF RF LF RF. www.angelfire.com /wizard/nationals/HebrideanLaddie.html

Welcome to Walter Piano Company Online ! A 5/32 inch round rod is used as the treble V-bar to insure a precise point of contact where the speaking (vibrating length) of the string begins. Pressure bar screws are threaded into the plate rather than into the pinblock allowing the soundboard to extend two inches higher than is possible in other pianos. The scaling across the break may be observed by comparing the length of the longest plain string on the treble bridge with the length of the first copper-wound string on the bass bridge. www.walterpiano.com /anatomy.html

wtc-i-8 In a similar process in bars 31-37, the subdominant chord (bar 31d) is redefined on beat 2 as another Neapolitan sixth chord, the vii7 is extended through four bars (bars 32-35), and the preparation of the ending is almost exactly the same as before (compare second half bar 36 with second half bar 28). Bars 12-14 continue with a free development in the upper voice, followed by a varied version of M1 in what is written as a middle voice (bars 14-16). In bars 25-29, the Neapolitan sixth chord (bar 26) and the vii www-personal.umich.edu /~siglind/wtc-i-08.htm

Probert Encyclopaedia: Nature (Tm-Trn) The Treble-bar (Aplocera plagiata) is a moth of the family Geometridae with a wing span of between 27 and 40 mm found throughout the Palaearctic flying from May to October. The Treble Lines (Charanyca trigrammica) is a moth of the family Noctuidae with a wing span of between 35 and 40 mm found in warmer parts of Europe and Asia Minor flying from May to July, with an occasional second generation appearing in September. Their nuts are often consumed as food (as in the case of Trapa Natans, the water chestnut or Jesuits' Nut). www.probertencyclopaedia.com /B9A.HTM

The Basics of Reading Music - By Kevin Meixner In the third bar the first note is a dotted eigth note which would be held for the duration of 3 sixteenth notes as counted as "1 e +" (spoken "one eee and") and the second sixteenth note falls on the "a" (spoken "aaah"). In the first bar in the picture above the first note is a dotted half note and would be held for a count of three beats spoken as "one two three", the last note is a quarter note that falls on the fourth beat of the bar and would be counted as "four". In the second bar the first note is a dotted quarter and it would be held for the first one and a half beats of the bar on "1 + 2" (spoken "one and two"). www.notationmachine.com /how_to_read_sheetmusic/readingmusic.htm

Gaelic Harmony - Port Priest - Alasdair Codona In this case, in the rising melody in bars 1-2, the note is first struck down the octave and then up the octave, followed by the treble and in the falling melody in bars 4-5, the note is first struck up the octave and then down the octave. If one regards the 2nd and 4th beat of the bar as being passing beats, then 4/5ths of the bass is in octaves with the treble There is a clear tendency of the 3rd to appear between the two hands when the melody note is the third note of a triad. Ignoring treble passing notes, over 3/4 of the beats of the bass is in octaves with the treble. www.clarsach.net /harmony/pp2.htm

Common Music Notation segno coda (cmn staff (bar (mm 96 e)) treble c4 w (bar segno) (c4 w) (bar coda) (c4 w) (bar (change-beat q. If a bar occurs as the first or last thing on a staff, it is left or right justified to the beginning or end of that staff. bar (meter '5+7 8) c4 w bar cut-time c4 w bar (meter 2 2 in-parentheses (dx.1)) c4 h bar (meter 9 8) (meter '4+5 8 (dx.1) in-parentheses) c4 w bar (meter 3 2 note-head-denominator) c4 h bar (meter 3 4 suppressed-denominator (meter-size 2)) c4 q.) ccrma.stanford.edu /software/cmn/cmn/cmn.html

Accordiola Accordions by Accordions USA With 13 treble registers – half of which are "dry" tuned and half are "wet" or Musette tunings including a unique 4 reed true Musette register (1 hi / 3 mid) for a brighter sound as well as the traditional 3 middle reed Musette. Full 5 sets of treble reeds + 5 sets of bass reeds give this model the full range of tonalities only possible with the 1 hi / 3 mid / 1 low treble reed configuration. All this at a weight normally associated with 4 treble reed accordions – a reasonable 26 lbs! www.accordionsusa.com /accordiola.htm

WTC II/18 in G# minor - Prelude Only in bars 128 where the subject breaks off early, and in bar 82 where the resolution of the leading-note is delayed, is a trill not necessary. Two of the statements of subject 2 are slightly changed in shape: in bar 83, the final resolution is reached only after a suspension and subsequent ornamentation of the leading-note, whereas in bar 128 subject 2 already breaks off on this leading-note. Apart from very few bars which display some contrapuntal work or imitation, the laws of polyphony do not apply here, and the term "motive" has to be understood as denoting a homophonic device. www-personal.umich.edu /~siglind/wtc-ii-18.html

C1-A1700.21: Fretted clavichord, anonymous. Germany, c.1700 - Restoration Report On cleaning the underside of the soundboard of its applications of cloth, wood and glue, a clear mark became visible, apparently that of an original bar near the treble end of the bridge. A new bar 3½" long was fitted to the marks and this may be seen in photograph 5. A short piece of pine was found glued across one of the numerous splits is of greater interest since it may be part of an original bar. www.music.ed.ac.uk /russell/instruments/c1-a170021/restoration.html

workshop: soundboard treatment The treble bar and the lower transverse bar are shaped to fit the mold prior to gluing. The treble bar is glued and shaped first because it locks into the main transverse bar below the soundhole, which, incidentally, is massive, made of hard maple, and full dimension from end to end. Note also that the sides have solid linings (two- and three-ply ash) and the large lower transverse bar ends are capped and surrounded by corbels. www.byersguitars.com /workshop/soundboard.html

Fruit Machine Emptiers Once you have the bars within 8 nudges select 'stoppa' and stop it on the 'e' of nudge and then gamble the nudges until you are offered the treble bars. The middle treble bar is the one with the Be careful not to stop bars on reels 1 and 3 as if you get the single bar on reel 2 you will be awarded the bars win. www.clubmachines.co.uk /oldstuff.htm

ApDuets - Title Although this treble is found in the duet section of Dd.3.18, Lyle Nordstrom has suggested that the second part should be played on a bass viol rather than a lute. Evidence for this includes the chordal first section of the treble (unusual in a lute duet) and the presence of a compatible bass viol part in Dd.5.20 3r. The ground is the first 4 bars of Dd.3.18. www.cs.dartmouth.edu /~wbc/julia/ap6/ApDuets.htm

MusEdit Tip #46 - Subtle Notation Problems 6) Bar 12, the triplets in the Tab line are indeed in the tab line, but there's another timing mismatch between the treble and tab line since the bottom notes in the treble line are quarters, but in the tab line it's a half upstem. 3) Bar 6 has a double bar at the start of the treble line, but not in the tab line. So I looked at the situation more carefully: notice that in the treble line the triplet starts with a stack of three up quarter notes, but in the tab line there is one up quarter and two down quarters. www.musedit.com /med/TipOfDay/Tip46.htm

Lloyd Allayre Loar - Contributions to instrument design The bass bar and treble bar were positioned in a non-symmetrical manner, and sized differently so that the treble side and bass side of the soundboard could be separately adjusted (i.e. Since the bars were not stretched (as strings are in a piano), it was his intention that these instruments would always be in tune. By tuning the tone bars to a specific note, Gibson engineers could be assured of likewise adjusting the soundboard to a known and very repeatable stiffness. www.siminoff.net /pages/loar_contributions.html

Reader's comments and questions, Ultimate Mandolin Note that the treble bar (lowest one in this photo) is positioned more closely to the centerline than the bass bar, and that the treble bar is narrower than the bass bar. A: Angled grain is the correct selection for brace and tone bar stock, and angled grain has been used by builders of all types of string instruments since the craft began. Q: I thought it was better to use braces with vertical grain than grain at an angle like the tone bars you show in your drawings. www.siminoff.net /pages/siminoff_book_comments.html

troubadour.mup ."; bar 1 1: 2b; 2e+~; 1 2: 1e; ital below 1: 1 "a tempo"; bar 1 1: 4e+~; 8e+; 16a; 16b; 16c+; 16d+; 16c+; 16b; 16a; 16g; 16f; 16g; 1 2: 1e-; ital below 1: 3 "rit. ."; bar 1 1: 2r; 2a~; 1 2: 1d; ital below 1: 1 "a tempo"; bar 1 1: 4a~; 8a; 16f; 16g; 16a; 16b; 16a; 16g; 16f; 16e; 8d; 1 2: 1b-; ital below 1: 3 "rit. ."; bar 1 1: 2r; 2b~; 1 2: 1e; ital below 1: 1 "a tempo"; bar 1 1: 4b~; 8b; 16g; 16a; 16b; 16c+; 16b; 16a; 16g; 16f; 16e; 16f; 1 2: 1e-; ital below 1: 3 "rit. www.saint-andre.com /music/troubadour.mup

joe.cmn begin-slur) (c4 q end-slur) bar (b3 q) (g3 h) (a3 e staccato) (g3 e staccato) bar (f3 e begin-slur begin-beam) (g3 e) (f3 e end-slur) (e3 e end-beam staccato) (d3 q) quarter-rest bar whole-rest bar whole-rest bar))) www.notam02.no /internt/cm-sys/cmn/joe.cmn

NWCForum - Syncopated notes are forcing bars beyond their value If I enter notes in a syncopted fashion the value of the bars are extended resulting in a treble clef bar that is wider than the corresponding bar in the bass clef. For example: the upper row of notes in the treble bar are minim then dotted crotchet then quaver. The lower row of notes in the same bar are crotchet, minim, crotchet. www.noteworthysoftware.com /nwcforum/4415.htm

Steel Strings For Different Styles The best Strombergs were made in the late '40s and '50s and have only one diagonal brace on the underside at the top, while earlier models from the 30s have a bass bar, treble bar. Generally speaking, blues players want a guitar with a strong treble even at the expense of bass, but beyond this their requirements vary widely. These guitars are also very versatile with strong treble, good bass, and considerable volume. www.acousticfingerstyle.com /steelstrngs.htm

brand12.php However it was not possible to keep to this arrangement (tenor recorder = oboe and treble recorder = violino) throughout the arrangement, as in one place the violino goes a note below the range of the treble recorder (bar 15). This figure is passed from the oboes to the strings, so to attain the contrasting timbres in the arrangement I chose the contrast between the high voices (two descant recorders and high treble recorder) and the lower voices (low treble and tenor recorders). In one place (bar 33) the bass melody reaches the low F#, usually a very weak note for the bass recorder. www.saers.com /recorder/mondrup/Bach/brand12.php

Octaves Mandolas Bracing Questions & Answers Bass bar is positioned of that X-bracing the treble bar is positioned like the tone bar traditionally....the point of each brace actually meet at the front of the instrument...it's not symmetrical like traditional tone bars...which adds an incredible balance between the top end and low end. On the bass side, the tone bar is usually nearer the F-hole, leaving more of that side un-supported to allow for lower tones, while the treble bar is nearer the center of its half of the top, to tighten up the highs. But this has to be balanced with how treble will be effected.Tone bars are meant to work on the side of the instrument where they are placed. www.folkofthewood.com /page4106.htm

Errata 24 Apr 2003, Bach, Passacaglia and Fugue, Fugue bar 170 treble left hand E naturals. bar 259 soprano last minim A is tied to bar 260 first quaver A. bar 267 tenor last minim a is tied to bar 268 first dotted crochet a. bar 276 tenor last quaver is an octave up at middle-C. 21 October 1998, Contrapunctus 14 for Keyboard, bar 299 tenor last quaver is c-natural; this corrects an error in Tovey's first edition (OUP). www.pjb.com.au /mus/errata.html

Probert Encyclopaedia: Nature (Pu-Pz) The Purple Bar (Cosmorhoe ocellata) is a moth of the family Geometridae with a wing span of between 20 and 25 mm found in Europe and Asia. Pup is the name for a baby rat. Two generations are produced flying from May to September. www.probertencyclopaedia.com /B77.HTM

Treble Bar - Butterflies and Moths of Northern Ireland Treble Bar - Butterflies and Moths of Northern Ireland Adults have pale grey forewings marked with 3 dark bands. www.habitas.org.uk /moths/species.asp?item=5958

Gibson A-9 Mandolin, Twelfth Fret, Canada This pattern traditionally has the bass bar off axis to the top grain (in line with the bass f-hole) while the treble tone bar is almost parallel to the top grain (and closer to the center seam). Not only is the positioning of the bars on this A-9 similar to the classic "Loar" configuration, but the treble bar is shaved to a more delicate profile just like Loyd would have done! This model features the throaty bark that Gibson achieves with their F-hole mandolins when strutted with their tried-and-true "parallel" or "tone bar" bracing pattern. www.12fret.com /new/gibsonA9page.html

Mandolin making pictures page 4 40) Once the tone bars are fitted to my satisfaction, I put a coat of hot hide glue on the mating surfaces and let it dry. 43) As you can see in this picture, the tone bars are glued on without shaping first. Not only is the contour changing along the length, but it the angle of intersection with the top changes as well. www.thefishnet.com /makemandolin/page4.htm

Re: Tap Tuning Siminoff's F-Type Mandolin You don't hear the vibrations of the 'treble bar' when you tap there, you hear the vibrations of the whole top that happen to be active at he treble bar. I'm not sure what Siminoff is hearing when he gets a half- or whole-tone between the two bars, but it's probably a couple of the higher order modes. Try this: _lightly_ touch your fingertip to the top in the center at the bridge location while you tap on one of the bars. www.talkaboutthemusic.com /group/rec.music.makers.builders/messages/65346.html

passion.mup ; bar 1 1: 1d-~; bar 1 1: 1d-; bar // fourth variation newscore score time = 27/8 key = 1& staffs = 1 clef = treble vscheme = 2o beamstyle = 4.,4.,4.,4.,4.,4.,4.,4.,4. poco a poco"; bar newscore score time = 12/8 key = 1& staffs = 1 clef = treble vscheme = 2o beamstyle = 4.,4.,4.,4. music 1 1: [with >] 8a; f+; d+; [with >] b; f+; d+; [with >] c+; f+; d+; [with >] b; f+; d+; bar newscore score time = 9/4 key = 1& staffs = 1 clef = treble vscheme = 2o beamstyle = 4.,4.,4.,4.,4.,4. www.saint-andre.com /music/passion.mup

last.mup e'0 tie; bar; RHY 1: 8 e5; 16 b0; g0; 8 e2; RHY 2: 4 e'0; 8 d2; bar; RHY 1: e3; b0; g0; RHY 2: 4. e'0 tie; bar; RHY 1: 8 e5; 16 b0; g0; 8 e2; RHY 2: 4 e'0; 8 d2; bar; RHY 1: e0; b1; g2; RHY 2: 4. e'0 tie; bar; RHY 1: e5; 16 b0; g0; 8 e2; RHY 2: 4 e'0; 8 d2; bar; RHY 1: e3; b0; g0; RHY 2: 4. www.excessus.demon.co.uk /au/last.mup

Try your search on: Qwika (all wikis)

About us   |   Why use us?   |   Reviews   |   Press   |   Contact us   Copyright © 2005-2007 www.factbites.com Usage implies agreement with terms.