"It's like dealing with all of the white keys on the piano until you start incorporating sharps and flats," he said.
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Sharps and Flats accompanied Chiemi Eri and included sidemen such as Norio Maeda, Shotaro Moriyasu, and Akitoshi Igarashi.
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He also wrote two volumes of memoirs, Crotchets and Quavers (1855)Max Maretzek (1855) Crotchets and quavers: or, Revelations of an opera manager in America, Samuel French, New York (Digitized by Google Books) and Sharps and Flats (1890).Max Maretzek (1890) (copyright 1889) Sharps and flats, American Musician Publishing Co., New York (Digitized by Google Books) He died in Pleasant Plains, Staten Island, New York in 1897.
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Literary Chicago: A Book Lover's Tour of the Windy City. Lake Claremont Press, p. 153. The Sharps and Flats column ran in the newspaper's morning edition.
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Kari O Komal (Bengali: কড়ি ও কোমল; English: Sharps and Flats) is a Bengali poetry book written by Rabindranath Tagore in 1886. It consists of 83 poems.
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All meantone tunings fall into the valid tuning range of the syntonic temperament, so all meantone tunings are syntonic tunings. All syntonic tunings, including the meantones, have a conceptually infinite number of notes in each octave, that is, seven natural notes, seven sharp notes (F to B), seven flat notes (B to F), double sharp notes, double flat notes, triple sharps and flats, and so on. In fact, double sharps and flats are uncommon, but still needed; triple sharps and flats are almost never seen. In any syntonic tuning that happens to divide the octave into a small number of equally wide smallest intervals (such as 12, 19, or 31), this infinity of notes still exists, although some notes will be equivalent. For example, in 19-ET, E and F are the same pitch.
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Likewise, the minor third is different from a semiditone. The fact that the syntonic comma is not tempered out means that notes and intervals need to be defined more precisely. Ottoman classical music uses a notation of flats and sharps for the 9-comma tone. In this article, diatonic notation will be used creating the following chromatic scale, where sharps and flats aren't enharmonic, only E and B are enharmonic with F and C. For the other notes, triple and quadruple sharps and flats aren't enharmonic.
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"Long Gone" is a 1948 instrumental by Sonny Thompson with the Sharps and Flats. The single, which features Thompson on piano and Eddie Chamblee on tenor sax, spent three weeks at number one on the R&B; chart and became his most successful song on the charts.
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Below (1898), pp. 50–52. In 1883, Field moved to Chicago where he wrote a humorous newspaper column called Sharps and Flats for the Chicago Daily News.Below (1898), pp. 57–58. His home in Chicago was near the intersection of N. Clarendon and W. Hutchinson in the neighborhood now known as Buena Park.Holden, Greg (2001).
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Cee Pee Johnson (February 22, 1915 - after 1947) was an American jazz drummer and vocalist. Johnson was born in Algiers, Louisiana. He first appeared in published sources in Dallas early in the 1930s, playing in his brother Bert Johnson's band The Sharps and Flats. Cee Pee Johnson danced and sang with this ensemble, and also played tom-toms.
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Dream Lady, also known as the Eugene Field Memorial, is a bronze sculpture by Edward McCartan. It is located in Lincoln Park, Chicago. Eugene Field (1850–1895) was an author and journalist, and wrote a humor column, "Sharps and Flats", for the Chicago Daily News. He was also well known as an author of poems for children.
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Tarrant was born in Ennis, Texas. He later lived in Wichita Falls with his uncle, who led a brass band. Tarrant played drums in bands led by banjoist Otis Stafford, and trumpeter Roy McCloud, before joining Lafayette Thompson's Golden Dragon Orchestra and touring with them in Colorado and Texas in the early 1930s. He also toured with Bert Johnson's Sharps and Flats.
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Thus in a given range, C-E-G-B-d is on one side, D-F-A-c-e on the other. The two outer rows consist of the sharps and flats required to complete the chromatic scale. This distribution of scale notes between sides facilitates rapid melodic play. English-system treble and tenor-treble concertinas usually span 3 1/2 or 4 octaves.
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Simplified Music Notation is an alternative form of musical notation designed to make sight- reading easier. It is based on classical staff notation, but incorporates sharps and flats into the shape of the note heads. Notes such as double sharps and double flats are written at the pitch they are actually played at, but preceded by symbols called history signs that show they have been transposed.
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Later, when the book entered the public domain, the Gambler's Book Club, from Las Vegas, published the first reprint edition. The book is now also available online in the form of a web site, with annotations. In his lifetime, Maskelyne authored several books, but Sharps and Flats is by far his most important literary work and without any doubts the best known of his books.
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Nobuo Tsukahara, better known as Nobuo Hara (born November 19, 1926, Toyama) is a Japanese jazz saxophonist and bandleader. Hara played in a military band during World War II and in a Tokyo officer's club after the war. He took leadership of the ensemble Sharps and Flats in 1952, which he would lead until the 1980s. This band recorded copiously and appeared at the Newport Jazz Festival.
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He appeared in many theatrical productions from the 1860s to the early 1900s in New York City, Boston, and London. He was best known for his long collaboration with William H. Crane, which lasted over ten years. They appeared together in Our Bachelors, Sharps and Flats, The Henrietta, The Merry Wives of Windsor, and She Stoops to Conquer. They were perhaps most popular as the two Dromios in The Comedy of Errors.
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20 key concertinas have a limited use for Irish traditional music due to the limited range of accidentals available. Three-row concertinas add a third row of accidentals (i.e., sharps and flats not included in the keys represented by the two main rows) and redundant notes (i.e., notes that duplicate those in the main keys but are located in the third, outermost row) that enable the instrument to be played in virtually any key.
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A split sharp is a kind of key found in some early keyboard instruments, such as the harpsichord, clavichord, or organ. It is a musical key divided in two, with separately depressible front and back sections, each sounding its own pitch. The particular keys that were split were those that play the sharps and flats on the standard musical keyboard (the "black keys" on a modern piano). Split sharps served two distinct purposes.
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Easley Blackwood. and Wesley Woolhouse, for 19 equal temperament: intervals are notated similarly to those they approximate and there are only two enharmonic equivalents without double sharps or flats (E/F and B/C). . 19-EDO can be represented with the traditional letter names and system of sharps and flats by treating flats and sharps as distinct notes; in 19-EDO only B is enharmonic with C, and E with F. This article will use that notation.
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Adrian Le Roy wrote that "b sharpe doeth holde up the tune halfe a note higher, and b flatte, contrarywise doeth lette it fall halfe a note lower" . But as early as 1524, theorists also had this understanding of these signs . Moreover, near the beginning of the 17th century, Michael Praetorius employed the words signa chromatica (chromatic signs) to refer to sharps and flats . Hence, no single understanding of the concept existed in the later Middle Ages and Renaissance.
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Jordan's touring band was called the Ten Sharps and Flats. He conducted the Federal Theatre Project's Negro Unit Orchestra in New York during the 1930s. From April 14 to June 20, 1936, Jordan worked with Johnson, Porter Grainger, and Asadata Dafora providing music for the Federal Theatre Project production of Shakespeare's Macbeth directed by Orson Welles at the New Lafayette Theatre. In 1939, Jordan led a symphony orchestra augmented by a 350-voice chorus at Carnegie Hall.
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White notes are written in the seven white spaces between the lines. Therefore sharps and flats are no longer needed, as each note has its own place in the octave. The evident correspondence between the stave and a piano induced Pot to use the name Klavarskribo. Though the klavar notation is a universal notation that can be used for all instruments and for singing, its greatest advantage is for instruments where a number of notes have to be played simultaneously: the keyboard instruments.
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Jerkert 2010, p. 121: "Note, however, that the extra keys need not be found among the sharps and flats. On p. 20 in Barbieri's book, for example, an organ from the end of the 1400s is depicted with no extra black keys but with two E keys, one suitable for use in an E major chord, and another better fitted as the third in a C major chord" As an important device to compose, play and study enharmonic music,Rasch 2009, p.
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Thus, the player can easily reach all the notes by simply swiveling the head, or by moving the instrument with the hands. These instruments can also play all the sharps and flats, with a special technique of both tilting the pipes and jaw movement, thus reducing the size of the pipe's opening and producing a change in pitch. A very advanced player can play any scale and in any key. There are two styles of vibrato possible, hand vibrato and breath vibrato.
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This book became an instant hit and to this day is considered to be a classic gambling book. What made this book so popular was the fact that it was the first detailed revelation of the secrets of the cardsharps. Other authors, prior to Maskelyne, had written about crooked gambling, but never before had anyone published a work with in- depth, detailed explanation of the secrets of crooked gambling. The first edition of Sharps and Flats was published in London and New York.
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The hornophone is a musical instrument composed of a number of reed bulb horns, typically used as vehicle horns, clamped into a metal frame. The arrangement of the horns is much like a xylophone or glockenspiel, tuned to a heptatonic scale. Ordinarily there is either a higher or lower rack or mounting of horns tuned to sharps and flats, like the black notes of a musical keyboard. The instrument is typically played standing, by squeezing the bulbs of the horns.
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Modern harps also vary in techniques used to extend the range and chromaticism of the strings (e.g., adding sharps and flats). On lever harps one adjusts a string's note mid-performance by flipping a lever, which shortens the string enough to raise the pitch by a chromatic sharp. On pedal harps depressing the pedal one step turns geared levers on the strings for all octaves of a single pitch; most allow a second step that turns a second set of levers.
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By request he wore his > scarlet Oxford gown over his snowy flannels, and was splendid beyond > words.... It was all so soon over, the feasting ended, and the principals > whirling away into the future Newcomb evidently then remained in touch with the couple for many years. The February 12, 1921 edition of The Bridgeport Times and Evening Farmer reported that she performed under Gabrilowitsch's baton with the Detroit Symphony Orchestra.Ethel Newcomb and Ossip Gabrilowitsch, in "Sharps and Flats." Bridgeport, Connecticut: The Bridgeport Times and Evening Farmer, February 12, 1921.
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However, the Reed 5 book contains only bassoon parts, which are not present on any other books. Musicians who play in pit orchestras are not only required to play multiple instruments at times, but they must also be familiar and able to play in multiple keys, styles, and tempos and make a switch instantaneously. The orchestration for a musical is written in a key best suited to range of the singer. Some keys are more difficult to play in than others because of the increased attention that greater amounts of sharps and flats require.
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Koistinen 38-stringed concert kantele A modern concert kantele can have up to 40 strings. The playing positions of the concert kantele and the small kantele are reversed: for a small kantele, the longest, low-pitched strings are farthest away from the musician's body, whilst for a concert kantele this side of the instrument is nearest, and the short, high-pitched strings are the farthest away. Concert versions have a switch mechanism (similar to semitone levers on a modern folk harp) for making sharps and flats, an innovation introduced by Paul Salminen in the 1920s.
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Organs and synthesizers can, and usually do, have more than one manual; most home instruments have two manuals, while most larger organs have two or three. Elaborate pipe organs and theater organs can have four or more manuals. The manuals are set into the organ console (or "keydesk"). The layout of a manual is roughly the same as a piano keyboard, with long, usually ivory or light- colored keys for the natural notes of the Western musical scale, and shorter, usually ebony or dark-colored keys for the five sharps and flats.
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These dividers are between the reeds, for the diatonic scale notes. The brass reed tongues are mounted on reed shoes, with each tongue nailed on with a single metal pin. These reed shoes (or frames) are inserted into dovetail-shaped slots into the top side of the pan. If the keyboard has two rows of keys, the outside row plays the diatonic scale, while the inside row plays the sharps and flats, and these chromatic reeds face the interior of the bellows, in dovetailed slots on the backside of the pan board, without any dividers.
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Some pipers can converse or sing while playing. The uilleann pipes are distinguished from many other forms of bagpipes by their tone and wide range of notes – the chanter has a range of two full octaves, including sharps and flats – together with the unique blend of chanter, drones, and regulators. The regulators are equipped with closed keys that can be opened by the piper's wrist action enabling the piper to play simple chords, giving a rhythmic and harmonic accompaniment as needed. There are also many ornaments based on multiple or single grace notes.
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John Nevil Maskelyne (22 December 183918 May 1917) was an English stage magician and inventor of the pay toilet, along with other Victorian-era devices. He worked with magicians George Alfred Cooke and David Devant, and many of his illusions are still performed today. His book Sharps and Flats: A Complete Revelation of the Secrets of Cheating at Games of Chance and Skill is considered a classic overview of card sharp practices, and in 1914 he founded the Occult Committee, a group whose remit was to "investigate claims to supernatural power and to expose fraud".
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Moriyasu sold refrigerators for a short time, then became a professional musician in the late 1940s, when there was an increase in entertainment opportunities in Japan. He worked in the bands of Shungo Sawada and Nobuo Hara, also arranging for Hara's ensemble, Sharps and Flats. Moriyasu's first pianistic influence was Teddy Wilson, but he turned to studying the bebop of Bud Powell around 1950, "transcribing not only melodies but solos, bass lines, drum fills, and harmonic progressions". At this time, Moriyasu was playing with the Red Hot Boys at the 400 Club in Yokohama.
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Key coloration is the difference between the intervals of different keys in a single non- equal tempered tuning, and the overall sound and "feel" of the key created by the tuning of its intervals. Historical irregular musical temperaments usually have the narrowest fifths between the diatonic notes ("naturals") producing purer thirds, and wider fifths among the chromatic notes ("sharps and flats"). Each key then has a slightly different intonation, hence different keys have distinct characters. Such "key coloration" was an essential part of much eighteenth- and nineteenth-century music and was described in treatises of the period.
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Top players in the All Regional Orchestras and the All District Bands are eligible to audition for the All Virginia Band and Orchestra (more commonly known as All State Band or Orchestra), which is held on the third or fourth Saturday in February at a Virginia college or university. Historically, the auditions have been held at James Madison University in Harrisonburg. String players, with the exception of double bass players are only eligible to play in the orchestra. All players are to play all major scales up to three octaves and all melodic minors up to and including 4 sharps and flats.
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It is shown that these alternate modes can be seen as variations of the traditional major and minor keys. The corresponding traditional key will share the same number of sharps and flats as the mode, though it will "feel" as if it's in a different key. Which notes are in the scale is much more important than which is the tonic, so these can be converted to one mode, such as minor. For example, F lydian and B locrian contain the same notes as A minor, so these should be compatible, and slightly less with D minor and E minor.
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Levitation is also credited to American magician Harry Kellar, who in fact stole the illusion by bribing Maskelyne's technician, Paul Valadon. Upon Cooke's death in February 1905, Maskelyne started a partnership with David Devant. Devant had first joined Maskelyne's team in 1893, when he auditioned as a replacement for Charles Morritt, a conjurer and inventor who had worked with Maskelyne at the Egyptian Hall but who left to set up his own show. In 1894, Maskelyne wrote the book Sharps and Flats: A Complete Revelation of the Secrets of Cheating at Games of Chance and Skill.
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There are eight kinds of orchestral melody harmonica; the most common are the horn harmonicas often found in East Asia. These consist of a single large comb with blow-only reed- plates on the top and bottom. Each reed sits inside a single cell in the comb. One version mimics the layout of a piano or mallet instrument, with the natural notes of a C diatonic scale in the lower reed plate and the sharps and flats in the upper reed plate in groups of two and three holes with gaps in between like the black keys of a piano.
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Perera's complex technique includes precisely bending the strings to create sharps and flats while gliding across the harp in a seemingly effortless fashion, which bespeaks the tremendous amount of skill and discipline required. About the time Perera started playing the harp, the Beatles were in their heyday. The young musician absorbed their music as well as other pop music influences into his musical muse, which included Brazilian music, folk and tango from South America, and the folk music from Paraguay. Unable to find an instructor who could teach him how to perform a pop music repertoire on the harp, he experimented until he was able to overcome the instrument's technical hurdles and develop his own form of expression.
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Meanwhile, editors at the Tribune met little success in sustaining the same quality of Taylor's "Line". James Keeley, a hiring manager at the Tribune, made a lucrative offer to Taylor in hope to lure him back to the paper. Taylor accepted the offer and returned to Chicago in 1909 where he resumed conducting his column without interruption until his death. The brand of journalism Taylor used and improved upon began in 1883 by Eugene Field with his "Sharps and Flats" column in the Chicago Daily News, , and later in 1895 by Tribune writer Henry "Butch" White. Taylor's satirical verse was a bit more polished than Field’s plain style, and Taylor covered a greater variety of topics.
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Just perfect fifth on D . The perfect fifth above D (A, 27/16) is a syntonic comma (81/80 or 21.5 cents) higher than the just major sixth above C (A, 5/3) (Fonville 1991, 109), 27/16 ÷ 9/8 = 3/2. Beginning in the 1960s, Johnston had proposed an approach to notating music in just intonation, redefining the understanding of conventional symbols (the seven "white" notes, the sharps and flats) and adding further accidentals, each designed to extend the notation into higher prime limits. Johnston‘s method is based on a diatonic C major scale tuned in JI, in which the interval between D (9/8 above C) and A (5/3 above C) is one Syntonic comma less than a Pythagorean perfect fifth 3:2.
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Like most fiddle tunes, "Blackberry Blossom" has an A part and a B part. In Arthur Smith's 1935 version, the A part is in the key of G major, with C and D chords in the second half of the part; the B part introduces an E major chord, making for a rather unusual mood shift. Later recorded versions changed the harmonic structure of this tune radically, introducing additional chord changes (substitutions based on the melody line) in the A part, and alternating E minor and B7 in the B part. The key of E minor is the relative minor of the key of G major - it uses the same sharps and flats but its modal center is E rather than G. This makes for a more "standard" harmonic structure.
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Preset keys on a Hammond organ are reverse-colored and sit to the left of the manuals In addition to drawbars, many Hammond tonewheel organ models also include presets, which make predefined drawbar combinations available at the press of a button. Console organs have one octave of reverse colored keys (naturals are black, sharps and flats are white) to the left of each manual, with each key activating a preset; the far left key (C), also known as the cancel key, de-activates all presets, and results in no sound coming from that manual. The two right-most preset keys (B and B) activate the corresponding set of drawbars for that manual, while the other preset keys produce preselected drawbar settings that are internally wired into the preset panel.
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In 1995, the commercial success of the soundtrack to The Bridges of Madison County, which featured four songs by Johnny Hartman, led to a resurgence of interest in the vocalist's work. Eleven reissues and compilations were released by various record companies between 1995 and 1998, including For Trane, from Blue Note, which contained material from two albums that Hartman had recorded for Capitol Music (Japan) in 1972 but had never been available stateside. Hartman had toured Japan with Art Blakey in 1963, and his participation in the John Coltrane and Johnny Hartman album "had given Hartman considerable credibility with the Japanese, so an invitation was extended and accepted." In late November 1972, he gave concerts with Japan's most popular jazz group, the Sharps and Flats big band, and with the Terumasa Hino quartet.
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