130 Sentences With "notate" | Random Sentence Generator

He attempted to notate this strange music, orchestrate it and normalize it.

"Anything he composed, I used to notate," Rabbi Shenker said in an interview on NPR in 2013.

"So we had to notate all our songs in MIDI, which is a laborious process," Bechtolt continues.

As implied by the name, the lasagna is dyed either pink or blue to notate your baby's sex.

Ms. Monk is best known for her innovative vocal techniques, which, for a long time, she was reluctant to notate.

As William O. Smith, he pioneered unorthodox techniques for his instrument and developed ways to notate them for other players.

Thrillers love to notate and record only surfaces; they gorge on named things, turning realism into the expertise of signification.

Before Western composers came up with a way to notate them, the length of rests in music were often dictated by buildings.

And, on Ms. Simard's second night at the theater, a stopwatch, which allowed her to notate her script with timings for costume changes and transitions.

In theory, we could have thousands and thousands of people listening all the time to identify these different sounds and notate them, but we would need a ton of people.

It wants artists and labels to notate things like the genre, mood and other data, including things like the instruments used, whether it's a cover, the culture the song belongs to, and more.

"My scores of Schumann, Chopin, Ravel, and Messiaen are still covered in the meticulous fingerings and often pointed criticisms that she would notate, bar after bar," he wrote shortly after Loriod's death, in 2010.

When she wrote "Bubbly Black Girl," Ms. Childs did not even know how to notate music, so she developed her own method of composition, involving the complicated layering of tracks she sang on a series of cassette tapes.

Ordinarily the role of instrumental arranger fell to Martin, but as he was unable to read or notate Indian music, Harrison himself can he heard teaching each member their proper parts by humming and singing the traditional pitch syllables.

It is a large, sunlit room, decorated with a gray couch, and an array of black-and-white photographs taken by Tacita Dean of the swirly markings Morandi created on his table to notate the precise positioning of his objects.

Since the very beginning of her work as an artist and composer, when Ono, still a student at Sarah Lawrence College, sought a way to notate birdsong, references to vivid natural forces and phenomena have figured prominently in her art and music.

So he began assembling the missing pieces — getting the Don Rose arrangements Buffalo had used, transcribing solos that the jazz pianist Dick Hyman had played with smaller combos, and figuring out how to notate changes in dynamics and fade-outs that were introduced when the film was edited.

Microsoft, a company known fairly well for assisting professionals with pretty much every important document of theirs thanks to their Office suite, is now updating their Office app for iPad Pro so that users can utilize the Apple Pencil to notate and illustrate their documents, presentations, spreadsheets, etc.

It is important to always have a mentor; a big ego is useless. I am a worker, an artworker. I go to work everyday. I listen, I notate my listening.

At the top of the main trail is a camping area (visitors intending to camp must notate that on their permit) with picnic tables and an outhouse. Hikers, mountain bikers, and horseback riders share the trails.

It is common for the White (gote) and Black (sente) player to be indicated at the beginning of the notation string with either black and white triangles () or shogi-piece-shaped pentagons (), such as ' or '. However, this is not obligatory: several books notate shogi moves without explicit indication of which player is making the moves. (See the adjacent image for an example.) In such cases, knowing which player the move refers to can be determined by the context in the book. This white/black convention is more common when the moves are not numbered (which is also optional to notate).

CD liner notes: Chart-Toppers of the Twenties, 1998 ASV Ltd. The depression struck during Austin's hit-making years, severely damaged the recording industry and, with it, Austin's recording career. Despite never learning to read or notate music, Austin composed over 100 songs.

It is, for example, more natural to use the quarter note/crotchet as a beat unit in or than the eight/quaver in or . Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in or .

Treble refers to tones whose frequency or range is at the higher end of human hearing. In music this corresponds to "high notes". The treble clef is often used to notate such notes. Examples of treble sounds are soprano voices, flute tones, piccolos, etc.

Lee, 41. See also Orchésographie (1588) by Thoinot Arbeau, the first publication to notate—in relation to music—the steps taken from social dances. Owing to its synthesis of dance, music, verse, and setting, the production is regarded by scholars as the first authentic ballet.Lee, 44.

They are principally used for brief, rapid sections in slow movements. For example, they occur in the first movement of Beethoven's Pathétique Piano Sonata (Op. 13), to notate rapid scales. Another example is in Mozart's Variations on Je suis Lindor, where many of them are used in the slow twelfth variation.

He also warned against novice keyboard players who insert too many slides into their playing. After a discussion on the contextual mutability of slides, Türk concludes the section on slides with the wish that composers would notate slides in regular rhythms so as to remove doubt as to their correct execution.

An array of random dots tends to form configurations (constellations). All these innate abilities demonstrate how the eye and the mind are seeking pattern and simple whole shapes. When we look at more complex visual images such as paintings we can see that art has been a continuous attempt to "notate" visual information.

This notation was also used to notate music for the viola d'amore, an instrument played and composed for by composers such as Biber and Vivaldi. The viola d'amore used a great number of different tunings and writing music for it in scordatura notation was a natural choice for composers of the time.

On the other hand, for a section in concert B major it would be impractical to notate the sax part in G major (a key with eight sharps, i.e. six sharps and one double-sharp). Instead, their part would appear in A major (four flats), just as if they were playing a hypothetical D instrument.

Ramesh Vinayakam has been working for several years on a so-called "Gamaka box", a way to visually represent and notate the gamaka, which is a type of ornamentation in Indian classical music. Notation of gamakams is generally not found in the Indian music system and Vinayakam's attempt was seen as a possible breakthrough and revolution in carnatic music.

Since he did not read music, Reinhardt worked with an assistant to notate what he was improvising. His modernist piece "Rhythm Futur" was also intended to be acceptable to the Nazis. In 1943, Reinhardt officially married his long-term partner Sophie "Naguine" Ziegler in Salbris. They had a son, Babik Reinhardt, who became a respected guitarist.

Later they became the disciples of the renowned duo Radha and Jayalakshmi who were disciples of the legendary G. N. Balasubramaniam. They learnt many nuances and subtleties of music during the five-year tenure under Radha and Jayalakshmi including the advice that the singing should be so clear that the listener should be able to notate the entire kriti.

The exact intonation of every maqam scale changes with the historical period, as well as the geographical region (as is the case with linguistic accents, for example). For this reason, and because it is not common to notate precisely and accurately microtonal variations from a twelve-tone equal tempered scale, maqam scales are, in practice, learned auditorally.

Allegro barbaro was composed in 1911, but the first performance didn't occur until 1921. According to Maurice Hinson, editor, Bartók premiered the piece in February 1913 in Kecskemet, Hungary. Like many of Bartók's compositions, there are several different editions of Allegro barbaro. The piece was performed in private by Bartók many times by memory before he even started to notate the music.

In a Banach space , the vectors may be notated by kets and the continuous linear functionals by bras. Over any vector space without topology, we may also notate the vectors by kets and the linear functionals by bras. In these more general contexts, the bracket does not have the meaning of an inner product, because the Riesz representation theorem does not apply.

3-ball Cascade with triplex: [333]33 A further extension allows siteswap to notate patterns involving multiple throws from either or both hands at the same time in a multiplex pattern. The numbers for multiple throws from a single hand are written together inside square brackets. For example, [33]33 is a normal 3-ball cascade, with a pair of balls always thrown together.

In 1927, he traveled alongside Marius Barbeau to the Nass River region of British Columbia to "hear, record and notate music of the Tsimshian People". As a result, he composed Three Songs of the West Coast, arranged for voice and piano. MacMillan composed less during his commitment to the Toronto Symphony Orchestra. Still, he managed to compose Scottish and French songs for the ballad opera "Prince Charming".

He was unable to read or notate music to any significant degree. Among the hits he wrote were "Your Cheatin' Heart", "Hey, Good Lookin'", and "I'm So Lonesome I Could Cry". Years of back pain, alcoholism and prescription drug abuse severely compromised his health. In 1952 he divorced Sheppard and was dismissed by the Grand Ole Opry because of his unreliability and alcohol abuse.

Musical symbols are marks and symbols used since about the 13th century in musical notation of musical scores. Some are used to notate pitch, tempo, metre, duration, and articulation of a note or a passage of music. In some cases, symbols provide information about the form of a piece (e.g., how many repeats of a section) or about how to play the note (e.g.

Unlike the practices of some other chanting traditions, Prostopinije remained a primarily aural, unwritten tradition for the major part of its history. Some leaders attempted to notate the chant, however, primarily as a means to systematize and unify it: first in Znamenny chant neumes, then (as of about year 1600) in "square and diamond" notation.History of Prostopinije at puluka.com Neither of these systems became widespread, however.

In some notation systems, nominal rhythmic values are given; musical importance ascribed to rhythmic markings varies depending on the lineage and/or teacher. Staff notation and graphic notation are sometimes used to notate music for shakuhachi, usually in modern music when shakuhachi is used in conjunction with Western musical instruments. Some current publishers of traditional shakuhachi honkyoku notation include the Chikuyūsha, Chikumeisha, Chikuhoryū, and the Kokusai Shakuhachi Kenshūkan.

" Over subsequent weeks, Sharp collected dozens of ballads from the Wallins' neighbors, namely the Shelton, Gosnell, and Chandler families.Cecil Sharp, Maud Karpeles (ed.), English Folk Songs from the Southern Appalachians (London: Oxford University Press, 1932), pp. 102, 151, 252, etc. Sharp described Mitchell Wallin as a "bad singer" and a difficult fiddler to notate due to his penchant for improvisation, but considered his visit to Wallin and Sands "fruitful.

A four-part texture, utilizing SATB, is played four times. The key, starting pitch for each part, and time signature are given on the answer sheet. The student must accurately notate only the bass and soprano lines, though the bass, tenor, alto, and soprano parts are all played in the recording. The student must also provide a Roman numeral analysis of the chords in the progression with correct chord inversions.

The unique swing in the second half is what gives Venezuelan merengue its lilt. Another approach is to notate the Venezuelan merengue as . This is the way that traditional musicians used to prefer it as the notation is less busy, but it assumes familiarity with the unique swing of Venezuelan merengue. Fredy Reyna proposed a third way in his cuatro method, Alfa Beta Cuatro, which consists of a bar.

Pérotin, "Alleluia nativitas", in the third rhythmic mode. Concerning rhythm, this period had several dramatic changes in both its conception and notation. During the early Medieval period there was no method to notate rhythm, and thus the rhythmical practice of this early music is subject to debate among scholars. The first kind of written rhythmic system developed during the 13th century and was based on a series of modes.

In the 1950s, Linear B was deciphered as Mycenaean Greek. Linear B shares many symbols with Linear A, and they may notate similar syllabic values. But neither those nor any other proposed readings lead to a language that scholars can read. The only part of the script that can be read with any certainty is the signs for numbers, which however are only known as numerical values; the words for those numbers remain unknown.

There are a few disadvantages with integer notation. First, theorists have traditionally used the same integers to indicate elements of different tuning systems. Thus, the numbers 0, 1, 2, ... 5, are used to notate pitch classes in 6-tone equal temperament. This means that the meaning of a given integer changes with the underlying tuning system: "1" can refer to C in 12-tone equal temperament, but D in 6-tone equal temperament.

Notational conventions vary from author to author, but sets are typically enclosed in curly braces: {} , or square brackets: [] . Some theorists use angle brackets to denote ordered sequences , while others distinguish ordered sets by separating the numbers with spaces . Thus one might notate the unordered set of pitch classes 0, 1, and 2 (corresponding in this case to C, C, and D) as {0,1,2}. The ordered sequence C-C-D would be notated or (0,1,2).

In 2008, he recorded the album Queen Guitar Rhapsodies of new arrangements of music by the group Queen for solo guitar and symphony orchestra. His arrangement for solo guitar of "Love of my Life" was praised by Queen's Brian May. From 2006, he has been helping Sir Paul McCartney notate and record a concerto for guitar and orchestra. The work was featured in a June 2007 cover article by The New Yorker magazine.

Noteheads ultimately derive from the neumes used to notate Gregorian chant. The punctum, seen at right, is the simplest of the shapes and most clearly anticipates the modern notehead. When placed on a clef, the position of a notehead indicates the relative pitch of a note. The development of different colors of noteheads, and the use of it to indicate rhythmic values, was the use of white mensural notation, adopted around 1450.

It is indicated by literally coloring the note-heads in the written music differently than their normal appearance. In the 14th and early 15th century, colored notes were typically marked in red while normal notes were black; in the 16th century, the same effect was achieved by filling the note-heads in black while normal notes were hollow. Sequences of colored notes can be used to notate triplet rhythms or hemiola effects.

Next to him, in the role of secondo amoroso was Angiola Zanuchi (or Zanucchi), a mezzosoprano of probably limited scope who specialised in travesti roles.Zanuchi's vocal characteristics are described by Reinhard Strohm in his The Operas of Antonio Vivaldi (Florence, Olschki, 2008, Volume II, p. 561, ). From the information Strohm provides it can be deduced that Vivaldi sometimes used to notate Zanuchi's parts in the alto clef, sometimes in the soprano clef (passim).

After leaving Chicago, Ginsberg went to upstate New York, where he had bought a farm as a retreat with money earned from his poetry readings. There, he experimented setting Blake's poems to music on a pump organ. He told Publishers Weekly in June 1969 that he was learning to notate music while working on the Blake settings. That same month, he began recording the album at Apostolic Studios in New York City's Lower Manhattan.

The rhythm provides a feeling of impatience and pressing forward, while the descending lines of the melody suggest a feeling of mourning. The final verse is sung a perfect fourth higher, leading to a more pressed tone of voice that emphasizes the metaphor of the budding green branches of a coming spring. The performance underscores the discrepancy between the clichéd image and the desperate wish for its fulfillment.Thomas Rothschild: Notate zu Wolf Biermann.

In them, new consonant letters have been devised for sounds lacking in Arabic (e.g. , , , and in Persian; and all the aspirate and retroflex stops in Sindhi). But rarely have the full set of vowels been represented in those new alphabets: Ottoman Turkish had eight vowels, but used only three letters to notate them. However, some adaptions of the Arabic alphabet do unambiguously and compulsorily mark all vowels: among them, those for Bosnian, Kashmiri, Kurdish, Kyrgyz, and Uyghur.

A chopsticks position can be easily abbreviated to a four-digit code [ABCD]. A and B are the hands (in ascending order of fingers) of the player who is about to take their turn. C and D are the hands (in ascending order of fingers) of the player who is not about to take their turn. It is important to notate each player's hands in ascending order, so that a single distinct position isn't accidentally represented by two codes.

Additional symbols are used to notate the . A frame is one complete representation of the dancer. A short horizontal line is used to represent the location of a hand or foot that passes through the Coronal plane which extends from the sides of the body. A short vertical line represents a hand or foot at a plane in front of the body, whereas a dot represents a hand or foot at a plane behind the body.

These were added by a recording technician, who manipulated hand controls to notate the dynamics onto the recording 'master'. Thus, post- recording editing was required to produce the finished performance – usually a joint effort by the recording technician and the pianist themself, who approved the final product. Thus, these recordings do represent the overall style of these great artists and are a good representation of their live performances. The Aeolian Company introduced the Duo-Art mechanism in 1913.

Though this convention is still in use particularly in tonal music, it may be cumbersome in music that features frequent accidentals, as is often the case in atonal music. As a result, an alternative system of note-for-note accidentals has been adopted, with the aim of reducing the number of accidentals required to notate a bar. According to Kurt Stone, the system is as follows:Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook, p. 56.

New York: Harcourt, Brace. . p. 7. In Western classical music in the 2000s, music students and theorists use Roman numeral analysis to analyze the harmony of a composition. In pop, rock, traditional music, and jazz and blues, Roman numerals can be used to notate the chord progression of a song independent of key. For instance, the standard twelve-bar blues progression uses the chords I (first), IV (fourth), V (fifth), sometimes written I7, IV7, V7, since they are often dominant seventh chords.

According to this simple typological definition a prosomoion could be recognised, because it had just a rubric with an incipit of the avtomelon text, while the echos or glas (musical mode) was indicated by a modal signature. It was enough, because educated chanters knew the avtomela by heart.The incipit of a hymn with a well-known melody which was used for the text recitation, was a common practice. It was also known among Jewish and Sufi musicians who did never notate music.

Adémar learned calligraphy, to read, to compose and to notate liturgical chant, to compile and to revise liturgical books, and to compose and to write liturgical poetry, homilies, chronicles and hagiography.James Grier (1995). His life was mainly spent in writing and transcribing chant books and chronicles, and his principal work is a history entitled Chronicon Aquitanicum et Francicum or Historia Francorum. This is in three books and deals with Frankish history from the reign of Pharamond, king of the Franks, to 1028.

60px Diatonic scale on C, guitar tablature and stave notation (suboctave is assumed). For guitars and other fretted instruments, it is possible to notate tablature in place of ordinary notes. In this case, a TAB- sign is often written instead of a clef. The number of lines of the stave is not necessarily five: one line is used for each string of the instrument (so, for standard six-stringed guitars, six lines would be used, four lines for the traditional bass guitar).

Before this work, they were printed in the margins. The first English New Testament to use the verse divisions was a 1557 translation by William Whittingham (c. 1524–1579). The first Bible in English to use both chapters and verses was the Geneva Bible published shortly afterwards in 1560. These verse divisions soon gained acceptance as a standard way to notate verses, and have since been used in nearly all English Bibles and the vast majority of those in other languages.

The teacher refers him back to his text in order to notate the next word before he can define it. A child in the preoperational stage does not understand the organization required to complete this assignment. However, a child in the concrete operational stage understands the organization, and he can recall the steps in any order while being able to follow the order given. Using decentration, the child has the two activities on his mind: identify words and find them in the dictionary.

He put her in touch with Doris Freeman. Together Catherine Margretta Thomas, Ceinwen Thomas and Doris Freeman worked to notate the dance steps from the traditional dances that Catherine Margretta Thomas could remember. These notes were then passed on to the Welsh National Folk Dance Society by Ceinwen Thomas. A complete set of the dance notation for Y Gaseg Eira was published, alongside the tune Ymdeithgan Gwŷr Penllyn (March of the Men of Penllyn), in the 1959/60 Welsh Folk Dance Magazine.

Scordatura (literally, Italian for "discord", or "mistuning") is a tuning of a stringed instrument that is different from the normal, standard tuning.Grove Music Online, Scordatura, David D. Boyden/Robin Stowel. It typically attempts to allow special effects or unusual chords or timbre, or to make certain passages easier to play.The Harvard Dictionary of Music, second edition, "Scordatura", Willy Apel It is common to notate the finger position as if played in regular tuning, while the actual pitch resulting is altered (scordatura notation).

ABC notation was in widespread use in the teaching of Irish traditional music in the late 1970s and most probably much earlier than that. In the 1980s Chris Walshaw began writing out fragments of folk/traditional tunes using letters to represent the notes before he learned standard Western music notation. Later he began using MusicTeX to notate French bagpipe music. To reduce the tedium of writing the MusicTeX code, he wrote a front-end for generating the TeX commands, which by 1993 evolved into the abc2mtex program.

Preaspiration is comparatively uncommon across languages of the world, and is claimed by some to not be phonemically contrastive in any language. note that, at least in the case of Icelandic, preaspirated stops have a longer duration of aspiration than normally aspirated (post-aspirated) stops, comparable to clusters of +consonant in languages with such clusters. As a result, they view preaspiration as purely a distributional feature, indistinguishable phonetically and phonologically from clusters with , and prefer to notate preaspirated stops as clusters, e.g. Icelandic kappi "hero" rather than .

Although chant was probably sung since the earliest days of the church, for centuries they were only transmitted orally. The earliest known systems involving neumes are of Aramaic origin and were used to notate inflections in the quasi-emmelic (melodic) recitation of the Christian holy scriptures. As such they resemble functionally a similar system used for the notation of recitation of the Qur'an, the holy book of Islam. This early system was called ekphonetic notation, from the Greek ἐκφώνησις ekphonesis meaning quasi-melodic recitation of text.

Hence, for example, LMC/modern tone class 5 is known in Chinese as the yīn qù ("dark departing") tone, indicating that it is the yīn variant of the EMC qù tone (EMC tone 3). In order to clarify the relationship between the EMC and LMC tone classes, some authors notate the LMC tone classes as 1a 1b 2a 2b 3a 3b 4a 4b in place of 1 2 3 4 5 6 7 8, where a and b correspond directly to Chinese yīn and yáng, respectively.

African musicians aim to express life, in all its aspects, through the medium of sound. Each instrument or part may represent a particular aspect of life, or a different character; the through-line of each instrument/part matters more than how the different instruments and parts fit together. African music does not have a written tradition; there is little or no written music to study or analyze. This makes it almost impossible to notate the music – especially the melodies and harmonies – using the Western staff.

Since the 2000s, rapping has evolved into a style of rap that spills over the boundaries of the beat, closely resembling spoken English. Rappers like MF Doom and Eminem have exhibited this style, and since then, rapping has been difficult to notate. The American hip-hop group Crime Mob exhibited a new rap flow in songs such as "Knuck If You Buck", heavily dependent on triplets. Rappers including Drake, Kanye West, Rick Ross, Young Jeezy and more have included this influence in their music.

John Plemmenos (2012, 163, note 9) quoted Hatzegiakoumes as evidence that Petros' teacher in Smyrna was Archdeacon Theodosios of Chios. In 1764 he came to Constantinople to study with Ioannes Trapezountios, the Archon Protopsaltes, while Daniel like Ioannes student of Panagiotes Halacoğlu was Lampadarios at the Great Church of Constantinople. Petros could serve there as second domestikos who was usually in charge to notate the versions sung by the cantors with the higher ranks. Between 1770 and 1778 he served as lampadarios (leader of the left choir), until he became ill.

William Bell Wait (1839–1916) was a teacher in the New York Institute for the Education of the Blind who invented New York Point, a system of writing for the blind that was adopted widely in the United States before the Braille system was universally adopted there. Mr. Wait also applied the New York Point principles to adapt them for use in over 20 languages, created a form of New York Point to notate music, and invented a number of devices to better type and print embossed material for the visually impaired.

In the 20th and 21st century, figured bass is also sometimes used by classical musicians as a shorthand way of indicating chords when a composer is sketching out ideas for a new piece or when a music student is analyzing the harmony of a notated piece of music (e.g., a Bach chorale or a Chopin piano prelude). Figured bass is not generally used in modern musical compositions, except for neo-Baroque pieces. A form of figured bass is used in notation of accordion music; another simplified form is used to notate guitar chords.

The experimental subjects participated in vocalizing and clapping rhythms notated with colored chalk on the chalkboard as a regular part of general music classes. Control subjects read, vocalized and clapped identical rhythms noted in white chalk. In the experimental group, contrasting colors were used to notate the different rhythmic values. The colors used were arbitrary and changed from week to week (so no one color was identified with a particular note or rest). The students used the Cheve rhythm syllables, consisting of ta’s for quarter notes and ti-ti’s for eighth notes.

Although tired from the previous recording session in addition to it having been quite late in the evening, Callaway recorded the demo in one take, for which Flaherty accompanied her on piano. Ahrens recalled that she, Flaherty and Callaway immediately knew the song would be included in the film. According to Flaherty, everyone instantly loved "Journey to the Past", and the producers immediately decided to designate it as their next recording session. Flaherty had not had enough time to notate the song properly apart from a rough lead sheet used to teach the singer.

These tactical 'norms' or 'models', based both upon technique and tactics, demonstrate how the different applications, defined above, can overlap. Sanderson and Way (1977) used symbols to notate seventeen different strokes, as well as incorporating court plans for recording accurate positional information. The system took an estimated 5–8 hours of use and practise before an operator was sufficiently skilful to record a full match actually during the game. In an average squash match there are about 1000 shots, an analyst using this system will gather over 30 pages of data per match.

On solid cats, it turns the base of the hair pale, making them silver smoke. Silver agouti cats can have a range of phenotypes, from silver tabby, to silver shaded (under half the hair is pigmented), to tipped silver/chinchilla (only the very tip of the hair is pigmented). This seems to be affected by hypothetical wide band factors, which make the silver band at the base of the hair wider. Breeders often notate wide band as a single gene Wb/wb, but it is most likely a polygenic trait.

Volk could notate, understood chord structure, and knew how to write charts. In addition, Volk could play keyboards and Melcher often used him in that capacity. The first song on which the Raiders' new signature sound was evident was "Steppin' Out", written by Lindsay and Revere. Volk and Levin worked together on their guitar parts, with Levin coming up with a repeating lead line and Volk following with the same bass line that is played throughout the entire song. The song was the band's highest charted hit to date, peaking at #46 in August 1965.

When Granados died in 1916, Marshall became its director; he remained director until his death in 1959, and the institute's name was eventually changed to Académia Frank Marshall. Among his pupils at the school was the composer Vicente Asencio. He published two pedagogic works, Estudio práctico sobre los pedales del piano (Madrid, 1919) and La sonoridad del piano, which attempted to notate piano pedaling more precisely. Marshall's influence as a pianist and teacher impacted Catalan piano playing heavily; his approaches to pedaling and voicing helped refine the distinctive style of piano playing from the region.

Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies.; Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension.

Early development of A.nnotate was enabled by proof-of-concept funding to Textensor Limited, from the Scottish Government for a project on authoring structured content from text . The resulting software, "Notate" is described in a white paper from 2007 which included support for semantic web authoring. In 2008 the company started selling standalone versions of the system for installation on local hardware and developed an API allowing web application developers and systems integrators to add annotation capabilities to existing document management systems. It offers off the shelf modules for integration with Documentum and Moodle.

Wilson's early lessons on piano came from his mother, and he grew up absorbing the classical and gospel music of the choirs and vocal ensembles his parents directed. While still of pre-school age, Wilson began composing simple songs and by the time he began primary school had learned to musically notate the songs he composed. At age 12, Wilson began organizing "street corner" vocal ensembles to perform his songs at parties and selected school functions. At 13, he discovered the flute and it soon became his major instrument.

See also the manuscript GR-Ams Dossier 137, f. 1r of the Archive Gregorios the Protopsaltes (Psachos Collection). Chourmouzios transcribed it according to the New Method (Kyriazides 1896). Within other musical traditions of the Ottoman Empire Petros had a very exceptional knowledge of makamlar, probably even of Armenian chant, and even if he did not invent the new analytical way to use Middle Byzantine notation, he had the reputation to have a very profound understanding of music which enabled him to notate music after just have listened to it once, even music which was not composed according to the octoechos.

Finale 2007 introduced linked parts, which allow ensemble parts to remain linked to the master score, so that changes to the master score will be instantly reflected in the parts. Finale can notate anything from a textbook chorale to a cut-out score including new symbols invented by the composer. It is also capable of working with guitar tablature and includes a jazz font similar to that used in the Real Book. Nearly all score elements can be positioned or adjusted, either by dragging (with the appropriate tool selected) or by using dialog boxes with measurements in inches, centimeters or picas.

In high school, he performed in numerous plays and was voted best actor in his senior class. Outside of school, he learned to play the trumpet and began composing chamber and orchestral music, including a four-movement symphony at age fourteen. However, having little formal musical training, he was initially unable to notate these pieces properly, so in the next few years he taught himself to do so by studying books on orchestration. After graduating from high school in 1965, Nardo majored in theater at Syracuse University, but left after a few semesters to pursue an acting career in New York City.

Appropriate use of the pedal is often left to the musician's discretion, but composers and music editors also use pedal marks to notate it. A common symbol for this is a horizontal line below the grand staff, which lifts up and down with the pedal. An alternative (and older) notation is the use of 20px indicating where the sustain pedal should be depressed, and an asterisk 15px showing where it should be lifted (see Für Elise for a famous example). Occasionally there is a general direction at the start of a movement instructing that the sustain pedal be applied continuously throughout.

At his performances at the XIIth Archeological Conference in Kharkiv, Hnat Khotkevych wrote: "...Extremely valuable in his playing and singing was his ability to sing in Ukrainian, with colorings which are not possible to notate, bending his voice with unusual fine melizmas and with his whole apparatus of performance, which was strikingly different from the professional." Professor Mykola Sumtsov who was also involved with the organization of the conference wrote that the best performers were Terentiy Parkhomenko, Pavlo Drevchenko and Ivan Kucherenko. He did not include Kravchenko in his list. Kravchenko's renditions did not leave a deep impression on him.

Early music notation Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time, although it is not clear how they were formed. These rhythmic modes were all in triple time and rather limited rhythm in chant to six different repeating patterns. This was a flaw seen by German music theorist Franco of Cologne and summarised as part of his treatise Ars cantus mensurabilis (the art of measured chant, or mensural notation).

Eddie Butcher (8 May 1900 – 8 September 1980) was an Irish traditional singer, folk-song collector and songwriter from Magilligan, County Londonderry. He had an extensive repertoire of songs that he performed in a sturdy, earthy style. In 1953, Dr. Hugh Shields began to notate and record Butcher's songs, published later in two books: Shamrock, Rose & Thistle (1981) and All the Days of his Life (2011), the latter accompanied by a set of three CDs. Starting in 1966, Butcher performed in frequent radio broadcasts from Dublin and Belfast, and recorded four albums of his songs, on one EP and three LPs.

Since microtonal intervals are impractical to accurately notate, a simplified musical notation system was adopted in Arabic music at the turn of the 20th century. Starting with a chromatic scale, the Arabic scale is divided into 24 equal quarter tones, where a quarter tone equals half a semitone in a 12 tone equal-tempered scale. In this notation system all notes in a maqam scale are rounded to the nearest quarter tone. This system of notation is not exact since it eliminates microtonal details, but is very practical because it allows maqam scales to be notated using Western standard notation.

System of reference EWMN describes movement using a geometrical model that allows the user to observe and notate movement in an objective way, free of verbal ambiguity and emotional attachment. The notation utilizes a spherical system of coordinates, similar to latitude and longitude on a globe. Since the movement of a single axis of constant length free to move about one fixed end, will all be enclosed by a sphere, the free end will always describe a curved path on the surface of this sphere. Every limb in the body can be regarded as such an axis.

The modern bassoon was only feasible as an instrument when the mechanical technology for creating precise key mechanisms was developed. In the 2010s, flutes, clarinets and many other woodwind instruments use similar key mechanisms. Mechanical music technology is the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to make simple flutes.

A piece of music can also be composed with words, images, or computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from avant-garde music that uses graphic notation, to text compositions such as Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music, and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman, and Witold Lutosławski. A more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze.

Fake books are also used in jazz; they may consist of lead sheets or simply chord charts, which permit rhythm section members to improvise an accompaniment part to jazz songs. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands." In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tablature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.

An example of Stepanov-notated choreography for La Bayadère, circa 1900 In his publication of Stepanov's method, Alexander Gorsky stated: “Poses or Movement lasting two units of time we notate with signs called halves (½) as they are made up of two quarters. Poses or movements lasting four units are notated with two half notes connected by arches.” In Stepanov notation, downturns can be written in terms of numbers, putting the different numbers of turns in the same order and pattern the dancer executes them. For example, if the numbers 1, 2, and 3 were written in a straight line, then the dancer would similarly turn three times in a straight line.

This 2009 photo shows music production using a digital audio workstation (DAW) with multi-monitor setup. Music technology is the study or the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to make simple flutes. Ancient Egyptians developed stringed instruments, such as harps, lyres and lutes, which required making thin strings and some type of peg system for adjusting the pitch of the strings.

Sreenidhi's uncanny musical talent was discovered at a very young age of 11months. She could identify raagas and could notate any phrase of music, let it be a complex sangathi in carnatic music or a simple keychain tune. Her rare knowledge at such young age astonished both the musicians and common public. Performing career began at a very young age of 2 and half years, and it was a wonder to everyone's eyes who witnessed a baby not only notating any alaap or phrase in any raagam and recognizing the name of the raagam but also performing raagaalapanam and swarakalpanam to krithis with her Manodharmam (extempore).

A serious deficiency of the system is that it does not provide for facial expression, mouthing, eye gaze, and body posture, as Stokoe had not worked out their phonemics in ASL.Kyle & Woll 1988:29 Verbal inflection and non-lexical movement is awkward to notate, and more recent analyses such as those of Ted Supalla have contradicted Stokoe's set of motion phonemes. There is also no provision for representing the relationship between signs in their natural context, which restricts the usefulness of the notation to the lexical or dictionary level. Nonetheless, Stokoe demonstrated for the first time that a sign language can be written phonemically just like any other language.

In his formative years, the frontman took singing and piano lessons and he used to notate Leprous songs but later stopped doing so after feeling that their compositions written intuitively were better. The band has emphasised their intention of taking different approaches on every album. Solberg claims inspiration from Radiohead, Massive Attack, Arvo Pärt, Susanne Sundfør, Behemoth, and The Prodigy in addition to more analogous progressive bands such as Porcupine Tree and The Dillinger Escape Plan. For his part, Suhrke cited The Mars Volta's Omar Rodríguez-López, Opeth's Mikael Åkerfeldt, Porcupine Tree's Steven Wilson, and The Dillinger Escape Plan's Ben Weinman as his four biggest guitar influences.

Eshkol-Wachman movement notation is a system to record movement on paper or computer screen, developed by choreographer Noa Eshkol (daughter of Levi Eshkol) and architect Abraham Wachman.Perpetual Motion: Noa Eshkol Haaretz It was originally developed for dance to enable choreographers to write a dance down on paper that dancers could later reconstruct in its entirety, much as composers write a musical score that musicians can later play. In comparison to most dance notation systems, Eshkol-Wachman movement notation was intended to notate any manner of movement, not only dance. As such, it is not limited to particular dance styles or even to the human form.

Music can be entered in a variety of ways: using the computer keyboard alone in real time or via a command line window; using user-determined combinations of mouse clicks, computer keyboard, and MIDI piano keyboard; or by MIDI keyboard alone. It also includes a function for optically recognising printed music from a scan, similar to OCRring text. From Finale 2001 onward, the program included MicNotator, a module able to notate melodic pitches played on a single-pitch acoustic instrument via a microphone connected to the computer. Finale can import and export MIDI files, and it can play back music using a large range of audio samples, notably from the Garritan library.

The hurricane can be traced back to a complex of disturbed weather near Cabo Verde on September 11, producing showers across the open waters of the Atlantic and directed westward by the Azores High. The disturbance remained a weak tropical wave for much of its early history, but over time gradually organized. By September 15, weather maps began to notate the system as a trough of low pressure north of the Lesser Antilles. A portion of this trough split off and moved northwest towards the South Atlantic states while the remaining disturbance continued to organize, becoming a tropical depression approximately 355 mi (570 km) northeast of San Juan, Puerto Rico, by September 18.

Joseph Bertolozzi was born in Poughkeepsie, New York, one year after his parents and sister emigrated from Lucca, Italy. When, at an early age, his interests turned to music, he read biographies of composers, music encyclopedias, and ultimately musical scores from the local library. He began organ lessons not in order to perform, but to learn how to notate the compositions he wished to create. He went on to receive his B.A. in music from Vassar College, and did further study at the Accademia Musicale Chigiana (with Xenakis and Donatoni), Westminster Choir College, and The Juilliard School, as well as numerous professional workshops with ASCAP, The American Music Center, and Carnegie Hall (including contemporary conducting techniques with Boulez).

Classical harmonic theory would notate the substitution as an augmented sixth chord on II (the augmented sixth being enharmonic to the dominant/minor seventh). The augmented sixth chord can either be the Italian sixth It+6, which is enharmonically equivalent to a dominant seventh chord without the fifth; the German sixth Gr+6, which is enharmonically equivalent to a dominant seventh chord with the fifth; or the French sixth Fr+6, which is enharmonically equivalent to the Lydian dominant without the fifth but with a sharp eleven, all of which serve in a classical context as a substitute for the secondary dominant of V.Satyendra, Ramon. "Analyzing the Unity within Contrast: Chick Corea's Starlight", p.55. Cited in Stein.

A ledger line or leger line is used in Western musical notation to notate pitches above or below the lines and spaces of the regular musical staff. A line slightly longer than the note head is drawn parallel to the staff, above or below, spaced at the same distance as the lines within the staff. The origin of the word is uncertain, but may have been borrowed attributively from the term for a horizontal timber in a scaffolding, lying parallel to the face of the building and supporting the putlogs. There is no basis to support the often-found claim that the word originates from the French léger, meaning "light" or "slight" .

That is to say, the fingers can press down on unfretted parts of the neck to achieve the same effect as stopping the frets. This allows the glissandi and portamenti to be executed flawlessly which constitute the primary characteristics of yaylı tambur. Moreover, the frets can be moved about depending on the tastes and choices of the player to achieve correct intonation of a given makam. Dr. Ozan Yarman has proposed an alternate 24-tone tuning and fretting for the tanbur that he has applied to his own instrument, which replaces the Arel-Ezgi-Uzdilek tone-system in use for Turkish Art music while also relying on the same array of accustomed microtonal accidentals to notate.

Most publishers employ a large QA staff for testing various games from different developers. Despite the large QA infrastructure most publishers have, many developers retain a small group of testers to provide on-the-spot QA. Now most game developers rely on their highly technical and game savvy testers to find glitches and 'bugs' in either the programming code or graphic layers. Game testers usually have a background playing a variety of different games on a multitude of platforms. They must be able to notate and reference any problems they find in detailed reports, meet deadlines with assignments and have the skill level to complete the game titles on their most difficult settings.

After the Battle of Vitoria, Beethoven's friend Johann Nepomuk Maelzel talked him into writing a composition commemorating this battle that he could notate on his 'mechanical orchestra', the panharmonicon, a contraption that was able to play many of the military band instruments of the day. However, Beethoven wrote a composition for large band, so large that Maelzel could not build a machine large enough to perform the music. As an alternative, Beethoven rewrote the Siegessinfonie for orchestra, added a first part and renamed the work Wellington's Victory. The piece was first performed in Vienna on 8 December 1813 at a concert to benefit Austrian and Bavarian soldiers wounded at the Battle of Hanau, with Beethoven conducting.

Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales.

During the period, composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was a tool for expression and communication.

This allows the most economical presentation of information regarding post- tonal materials. In the integer model of pitch, all pitch classes and intervals between pitch classes are designated using the numbers 0 through 11. It is not used to notate music for performance, but is a common analytical and compositional tool when working with chromatic music, including twelve tone, serial, or otherwise atonal music. Pitch classes can be notated in this way by assigning the number 0 to some note and assigning consecutive integers to consecutive semitones; so if 0 is C natural, 1 is C, 2 is D and so on up to 11, which is B. The C above this is not 12, but 0 again (12 − 12 = 0).

Drexel 4180—4185, a set of six manuscript partbooks belonging to the Music Division of the New York Public Library A partbook is a format for printing or copying music in which each book contains the part for a single voice or instrument, especially popular during the Renaissance and Baroque. This format contrasts with the large choirbook, which included all of the voice parts and could be shared by an entire choir. The choirbook still followed the convention to notate the parts separately, but within a double page, likewise part books were arranged that they show the one extract of the composition on the same page. The production of partbooks appears to have been a cost-cutting measure, as large-scale printing was much more expensive.

The accidental ' had been used to notate details of melodic attraction, as dieseis in case of augmentation or ascending attraction or ' in case of diminution or descending attraction. About the phenomenon of temporary attraction which did not cause a change into another genus (μεταβολή κατὰ γένος), although it caused a microtonal change, he wrote in his eight chapter "about the chroai" (περὶ χροῶν): > §. 265. Ἑστῶτες μὲν φθόγγοι εἶναι ἐκεῖνοι, τῶν ὁποίων οἱ τόνοι δὲν > μεταπίπτουσιν εἰς τὰς διαφορὰς τῶν γενῶν, ἀλλὰ μένουσιν ἐπὶ μιᾶς τάσεως. > Κινούμενοι δὲ ἢ φερόμενοι γθόγγοι εἲναι ἐκείνοι, τῶν ὁποίων οἱ τόνοι > μεταβάλλονται εἰς τὰς διαφορὰς τῶν γενῶν, καὶ δὲν μένουσιν ἐπὶ μιᾶς τάσεως· > ἣ, ὃ ταὑτὸν ἐστὶν, οἱ ποτὲ μὲν ἐλάσσονα, ποτὲ δὲ μείζονα δηλοῦντες τὰ > διαστήματα, κατὰ τὰς διαφόρους συνθέσεις τῶν τετραχόρδων. §. 266.

Tirez Tirez relocated to New York City in 1979 and continued performing until 1987. Meanwhile, Rouse absorbed African rhythmic techniques from A. M. Jones's Studies in African Music, and studied Schillinger technique with Jerome Walman, one of the few "Certified" Schillinger Teachers in America; both influences came to inform his music. In addition to Tirez Tirez he formed a new ensemble, Mikel Rouse Broken Consort, to work out his new rhythmic language in the context of rock- based instrumentation, making him one of the first composers to notate intricate music for rock group. Rouse's association with Ben Neill and Kyle Gann in New York in the early 1990s led to the recognition of a new rhythmic complexity in minimalist-based music that came to be referred to as totalism.

In the winter of 1966–1967, she met Sol LeWitt, Carl Andre and Joseph Kosuth, major figures in the then nascent fields of Minimalism and Conceptual art. These meetings proved pivotal in the development of Darboven's work; soon thereafter, she began her first series of drawings on millimeter paper with lists of numbers, which resulted from complicated additions or multiplications of personally derived numerical sequences based on the four to six digits used to notate the date, month, and year of the standard Gregorian calendar.Hanne Darboven: Wunschkonzert, December 15, 2010 – January 29, 2011 Regen Projects, Los Angeles. The calendar sequence has consistently formed the basis for the majority of her installations, and the ‘daily arithmetic’ consisting of checksums came to replace the year’s calendrical progression according to a complex and challenging mathematical logic.

A piece of music can also be composed with words, images, or, in the 20th and 21st century, computer programs that explain or notate how the singer or musician should create musical sounds. Examples of this range from wind chimes jingling in a breeze, to avant-garde music from the 20th century that uses graphic notation, to text compositions such as Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music, and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman, and Witold Lutosławski. The nature and means of individual variation of the music is varied, depending on the musical culture in the country and time period it was written.

Cantigas de Santa maría, medieval Spain Isidore of Seville wrote about the local music in the 6th century. His influences were predominantly Greek, and yet he was an original thinker, and recorded some of the first details about the early music of the Christian church. He perhaps is most famous in musical history for declaring that it was not possible to notate sounds, an assertion which revealed his ignorance of the notational system of ancient Greece, suggesting that this knowledge had been lost with the fall of the Roman Empire in the west. Codex Las Huelgas, a medieval Spanish music manuscript, circa 1300 AD. The Moors of Al-Andalus were usually relatively tolerant of Christianity and Judaism, especially during the first three centuries of their long presence in the Iberian peninsula, during which Christian and Jewish music continued to flourish.

As a general rule, the notes of a single neume are never sung to more than one syllable; all three pitches of a three-note neume, for example, must all be sung on the same syllable. (This is not universally accepted; Richard Crocker has argued that in the special case of the early Aquitanian polyphony of the St. Martial school, neumes must have been "broken" between syllables to facilitate the coordination of parts.) However, a single syllable may be sung to so many notes that several neumes in succession are used to notate it. The single-note neumes indicate that only a single note corresponds to that syllable. Chants that primarily use single-note neumes are called syllabic; chants with typically one multi-note neume per syllable are called neumatic, and those with many neumes per syllable are called melismatic.

A hymn-style arrangement of a traditional piece entitled "Adeste Fideles" in standard two-staff format (bass staff and treble staff) for mixed voices. A Tibetan musical score from the 19th century. Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic, or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment), although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.

In his opening address he noted: "the collection of folk songs is difficult, because such a collector required not only the understanding of the regional ethnography and a keen sense of observation, but also had to have musical training in order to correctly notate the song, and to correctly recreate it. The final task is particularly difficult, so this conference decided to take an easier route, and to hear the performance of these works by the carriers of this music directly, in this case from the kobzars and lirnyks .... To this live antiquity, which is gradually disappearing, the conference is dedicated. " A short paper "About the kobzars and lirnyks of the Kharkiv province" was read by professor M. Sumtsov. After this was another short paper - "The association of the blind, their organization and current state" which was read by V. Ivanov.

A work of music can have multiple composers, which often occurs in popular music when all members of a band collaborate to write a song or in musical theatre, when one person writes the melodies, a second person writes the lyrics and a third person orchestrates the songs. A piece of music can also be composed with words, images or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as Karlheinz Stockhausen's Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman and Witold Lutosławski.

Some sources notate slash chords with a horizontal line, although this is discouraged as this type of notation can also imply a polychord. While almost all pop and rock usages of slash chords are intended to be read as a chord with a bass note underneath it other than the root of the chord, in jazz and jazz fusion, sometimes a chord notated as F/A is intended to be read as a polychord; in this example, the polychord would be an F major chord (the notes F, A, and C) and an A major chord (the notes A, C, and E) played simultaneously. To avoid ambiguity in a jazz or fusion chart, some arrangers use the notation "bass" to indicate when the second note (after the slash) is a bass note. Thus, F/A bass indicates an F major chord with an A bass note, whereas F/A may indicate a polychord with an F major chord and an A major chord.

Composers of microtonal music have developed a number of notations for indicating the various pitches outside of standard notation. One such system for notating quarter tones, used by the Czech Alois Hába and other composers, is shown on the right. In the 19th and early 20th centuries, when Turkish musicians switched from their traditional notation systems—which were not staff-based—to the European staff-based system, they refined the European accidental system so they could notate Turkish scales that use intervals smaller than a tempered semitone. There are several such systems, which vary as to how they divide the octave they presuppose or the graphical shape of the accidentals. The most widely used system (created by Rauf Yekta Bey) uses a system of four sharps (roughly +25 cents, +75 cents, +125 cents and +175 cents) and four flats (roughly −25 cents, −75 cents, −125 cents and −175 cents), none of which correspond to the tempered sharp and flat.

The reconstruction of Le Rêve du peintre was performed by students of the Imperial Ballet School on . Based on the success of these notations, Stepanov's project was approved and he soon began to notate the repertory of the Imperial Ballet. Among the first pieces to be documented was Petipa's 1894 ballet Le Réveil de Flore and the scene Le jardin animé from the ballet Le Corsaire. Stepanov's method of notation was also included for a time as part of the curriculum of students of the Imperial Ballet School. After Stepanov's death in 1896, the dancer Alexander Gorsky took over the notation project and perfected Stepanov's system. After Gorsky departed St. Petersburg in 1900 to take up the post of Ballet Master to the Bolshoi Theatre of Moscow, the former dancer of the Imperial Theatres Nicholas Sergeyev took over the project as supervisor. By 1903 Sergeyev was appointed régisseur of the Imperial Ballet. It was Sergeyev's assistants who created the majority of the notation, all of whom were dancers with the imperial ballet: Alexander Chekrygin (ru: Чекрыгин, Александр Иванович, Victor Rakhmanov, Nikolay Kremnev (ru: Николай Кремнев), and S. Ponomaryev (ru: С. Пономарев).

The original commission that reached Salieri in 1783–84 was to assist Gluck in finishing a work for Paris that had been all but completed; in reality, Gluck had failed to notate any of the score for the new opera and gave the entire project over to his young friend. Gluck feared that the Parisian critics would denounce the opera by a young composer known mostly for comic pieces and so the opera was originally billed in the press as being a new work by Gluck with some assistance from Salieri, then shortly before the premiere of the opera the Parisian press reported that the work was to be partly by Gluck and partly by Salieri, and finally after popular and critical success on stage, the opera was acknowledged in a letter to the public by Gluck as being wholly by the young Salieri. Les Danaïdes was received with great acclaim and its popularity with audiences and critics alike produced several further requests for new works for Paris audiences by Salieri. Les Danaïdes followed in the tradition of reform that Gluck had begun in the 1760s and that Salieri had emulated in his earlier opera Armida.

The patterns are all ternary, and vary in number (depending on the theorists' preferences) from four to nine . The six most often described, forming the nucleus of the system, are (; ): # Long-short (trochee) # Short-long (iamb) # Long-short-short (dactyl) # Short-short-long (anapest) # Long-long (spondee) # Short-short (pyrrhic) Rhythmic modes were the basis for the notation technique of modal notation, the first system in European music to notate musical rhythms and thereby make the notation of complex polyphonic music possible, which was devised around 1200 AD and later superseded by the more complex mensural notation. Modal notation indicated modes by grouping notes together in ligatures—a single written symbol representing two or more notes. A three- note ligature followed by a succession of duple ligatures indicated mode 1; the reverse—a succession of duple ligatures ending with a ternary on—indicated mode 2; a single note followed by a series of ternary ligatures mean mode 3 and the reverse mode 4; uniform ternary ligatures signified mode 5, and a four-note ligature followed by a chain of ternary ligatures meant indicated mode 6 .