What are the keyboard notes for happy birthday,fleksy keyboard full 2.0.1 apk 4sh,casio digital upright piano,ed sheeran a team piano sheet music pdf - Good Point

Author: admin | Category: Roland Piano | 21.07.2014

Other Uses: These modules could be used in other music courses, and possibly in some acoustic courses. Many people desire to play a musical instrument, but lack either the time or the skill to play it to their satisfaction.
In short, Bob does not have the time or skill to play the complete variety of music that he would like to play. In sum, the motivation for this invention is for a computer to assist a performer in playing a piece of music.
Thus, instead of having the instrument play notes through a sound synthesizer directly, the instrument provides input to a computer, which plays notes of a specific piece through a sound synthesizer. The input file: The piece of music being played must first be translated into a format readable by the computer program and stored in a file.
Notation and conventions: In the sections below, the description will assume that the setup in Figure 1 is being used, and that a performer named Bob is playing a velocity sensitive, MIDI-based, electronic keyboard.
MIDI is a format standard for electronic music that is especially well-suited to electronic keyboards. Although the key field is sufficient to specify the pitch of a note, it is often useful to specify a note by its common musical name.
Method: The method of achieving computer assisted performance is best explained by way of some examples.
First, the music is stored in a file that describes the ordering of the notes, as in Figure 3. Since Bob is using a velocity sensitive keyboard, he can dictate the loudness of each note of ``Happy Birthday'' by how hard he plays the corresponding key. What this example shows is a very simple paradigm for letting a performer play a simple piece of music, comprising a single line of notes, by simply playing any notes in sequence. Note that the NOTE-ON and NOTE-OFF events do not have to come in alternation, and notes may be held as long as the performer wants, not in accordance with how the piece is written.
Now, suppose Bob wants to play a slightly more complex piece of music, like ``Happy Birthday'' with some accompaniment to the melody (Figure 4). Figure 6: Happy Birthday with accompaniment, partitioned into lines and translated into a file.
Now, for the first two notes, Program B works in the same manner as Program A: it waits for the first two NOTE-ON events, matches them to the first two C0's of Line 1, and emits the corresponding NOTE-ON events to be played by the keyboard. Figure 7: Happy Birthday, melody and accompaniment, converted into a linked list of playable beats. When the next NOTE-ON event comes in, generate NOTE-ON events for all four notes, and send them all to the keyboard. Since the piece specifies that all four notes are to be played at the same time, a reasonable decision for Program B might be to wait for four NOTE-ON events to be generated. Although the above solution is nice, performers often do not play all notes on one beat simultaneously.
We will assume that Program B implements the last two options: each NOTE-ON event causes Program B to guess which note the event matches, and to emit a NOTE-ON event instantly.
At this point, it is convenient to talk about control events (such as pedaling and program changes).
Next, for each line in the input file, Program B remembers the key value of the last NOTE-ON event that matched to a note in that line. The actual implementation is more complex than the above description, but the above description captures the basic idea. Figure 8: Happy Birthday with accompaniment, translated into a file where lines TL1 and TL2 are played with the NOTE-ON and NOTE-OFF events of line LH1. In the above example, each tied note has the same starting time and duration as the note to which it is tied.
This poses a problem to Programs B and C, because the program cannot assign a playable beat to the grace notes without deciding a priori whether to play the grace notes on or before a beat.
Trills provide a special challenge to this paradigm because the music does not specify how many notes are actually played during a trill. In ``Example 2'', a certain class of mistakes -- hitting too few notes when playing a chord -- is addressed.
When lines are partitioned into right and left hands, there may be playable beats (for example, the first beat of Happy Birthday), when the program is expecting to get NOTE-ON events from only one hand.
Skip the current beat and subsequent beats until there is a beat which expects a note from that hand. Change the data structure so that two lists are maintained -- one for the left hand and one for the right hand -- and process these lists independently, so that the hands each play in their own tempo. I have written a version of Program C that runs on PC's using the Linux or FreeBSD operating systems.
One difference between these pieces of work and the method described above is the playing of multiple notes on a beat. The method in my software allows the performer to specify an arbitrary number of key presses per beat. The author thanks Don Pederson and Henri Casanova for their discussions on this research area, and Stephen Malinowski for encouragement and providing much needed historical perspective. This research and associated software is not part of the author's research program at the University of Tennessee. The Happy Birthday piano sheet music arrangement I have here uses a simple, bouncy left-hand chord accompaniment in the "Oom-pah,pah" style. Download Happy Birthday on the piano in the key of DDownload free sheet music in the key of EbDownload free birthday song in the key of FDownload vocal and piano song in the key of GBelow is the melody of Happy Birthday as a lead sheet, for any instrument.
Download Birthday song lead sheet in the key of ADownload Birthday song lead sheet in the key of BbDownload Birthday song lead sheet in the key of CDownload Birthday song lead sheet in the key of DDownload Birthday song lead sheet in the key of EbDownload Birthday song lead sheet in the key of FDownload Birthday song lead sheet in the key of GBelow is a version for brave beginners who want to be able to play all of Happy Birthday themselves, even to the octave stretch and the chords. Download simple version of the Birthday song in the key of FDownload simple version of Happy Birthday in the key of GWith these small chords, I like to tell my students "This is a D "pinch" chord. The version in G may be easier for your students to play, because with the F version, each hand has to deal with a Bb note.
This song has BECOME traditional -- according to Wikipedia, Happy Birthday is the most-recognized song in the English language. Please note that all comments are moderated, and will not appear until I have approved them. Confused About Hands Sharing the Same Note I am elderly piano beginner and I downloaded your Happy Birthday in Gmaj as a practice piece but I'm finding it a little confusing. Really Good Site for Beginners Not rated yetThanks sister, it's a good site for piano learners. Miggy, United Kingdom:I've just found your website and I think I've died and gone to heaven. Cailan:There are an incredible amount of people online who just want to be heard, but very few who have given what you have so clearly.
This paper details a method for a computer to assist a performer in performing specific pieces of music on MIDI-based instruments.
The performer contols the parts of the performance that make a performance meaningful (dynamics, expression, tempo), but is relieved of the burden of having to learn notes and techniques that are not necessary when a computer is employed.
An electronic instrument is played by depressing and releasing keys and pedals, turning wheels, etc.
However, by playing the instrument, the performer has control over the way in which the computer plays these notes. This file contains the notes of the piece, plus information on how the input events generated by the performer should play these notes. Velocity sensitive means that the keyboard senses how hard a key is pressed, and converts that into a number called the velocity. After detailing three examples, a high-level description of the entire process will be given. Note that information concerning the duration of the notes, and where they lie within the piece (e.g. For example, if he wants to stress the note corresponding to the syllable ``birth'', then he may do so by striking the third key that he plays harder than the others. The performer controls certain performance parameters, in this case when to play a note, how loud to play it, and when to stop playing it. When it gets a NOTE-ON event, it plays the next note on the list by sending the appropriate NOTE-ON event to the keyboard.
This is recognized by Program A (which remembers the original identity of the third note played, in this case G0) and the appropriate NOTE-OFF events are generated. As before, the piece must be stored in a file, but now there must be some information that relates notes to beats, or at the very least groups together notes that will be played more or less simultaneously. First, it reads the piece file, and creates a data structure that organizes the notes in time. At this point, Program B is ready to play four notes (D0, A-1, C-1, F-2), and this is the where Program B differs significantly from Program A. When the NOTE-OFF event corresponding to the NOTE-ON event comes in, turn all four notes off. When this happens, the events are sorted by their key's, and then each event is matched to one of the notes.
For example, they may play the highest or lowest note first for emphasis, or they may want to ripple the chords of the accompaniment.

However, if too much time elapses after the first NOTE-ON event for a beat, the rest of the notes on that beat are skipped. The simplest thing to do with these events is to pass them straight back to the instrument.
For example, a particular control event can be defined to terminate Program B, or skip to the next beat. Ideally, the lowest of these notes should be matched to the lowest note that Bob plays, the second lowest to the second lowest, and so on. The left-hand lines are to be played by the left hand, and the right-hand lines are to be played by the right hand. When Program B has to match a NOTE-ON event to a note, it chooses the line whose last NOTE-ON event most closely matches the current NOTE-ON event. The piece is encoded in a file along with annotations stating the relative order in which notes are expected to be played, and how multiple NOTE-ON and NOTE-OFF events may be tied to single NOTE-ON and NOTE-OFF events.
There are a few enhancements to this process which in practice make the software easier to use, especially with more complex pieces of music. The challenge with incorporating grace notes into the software is their relationship to other notes. The solution that I have adopted is to treat grace notes as special notes that may be played at any time before or on the beat that they precede in the music. That is left up to the performer who often doesn't play a set number of notes, but simply trills as fast as he or she can for the required period. An easy way to stop the trill is for the performer to play a different key adjacent to either of the trill keys. It is suggested that if too much time passes between NOTE-ON events, Program B should assume that the performer has omitted some NOTE-ON events, and it should move on to the next beat.
A question is then what should be done when instead the performer plays a note on the other hand? First, the music file keeps explicit track of the measures, and measures may be specified as ``hands separated'' or ``hands together'' (the default is hands together). I have defined a format for the piece files, and written some code that lets a user create these files in several stages using a keyboard and metronome. Additionally, Stephen Malinowski implemented Strangio's idea on MIDI-based keyboards as part of his Music Animation Machine. Strangio's patent deals with the problem by partitioning the keyboard into regions, and each region is responsible for a specific collection of notes. They keyboard is partitioned into two regions -- one for the left hand and one for the right hand. Offered here in keys for all instruments, you can teach it to your students with this free printable sheetmusic. Verse two uses words I heard in Sunday School as a child, but did not understand until I was an adult!
However, the writers are known to history -- two sisters named Mildred and Patty Hill, who wrote the song in 1893. Also, IF YOU ARE ASKING FOR MUSIC THAT IS NOT IN THE PUBLIC DOMAIN, YOUR REQUEST WILL BE IGNORED. For all the reasons you explain on the site itself--this is exactly what piano teachers need! Regarding instruction for those of us who can't afford lessons,your site has been a real gift to stumble across. Open the ReadMe.html file for instructions on posting the Flash file on a Web site or in a course management system.
The computer executes a program that accesses a file containing the notes of the piece that Bob wants to play. Additionally, he does not have to play all of the notes, since the computer can play multiple notes in accordance to one key press.
In the description below, I will use the example of an electronic keyboard, but other electronic instruments are possible. Most electronic instruments have the ability to ``turn local echo off'', which means that when a performer plays the instrument, no sounds are emitted through its speakers.
Thus, the instrument, computer, and sound synthesizer combine to become a new instrument whose job is to play the piece of music stored in the input file.
The input file may be annotated so that the performance can take on any degree of complexity. Larger velocities mean that the keys are pressed harder, and if a key press is translated into a note with a large velocity, then a synthesizer normally plays that note louder than one with a small velocity. For example, a key press generates the NOTE-ON event, and a key release generates the NOTE-OFF event. The first key press plays the first note; the second key press plays the second note, and so on. When it gets a NOTE-OFF event, it uses the key field to determine which NOTE-ON event the NOTE-OFF matches. For example, the notes may partitioned into ``lines'' as in Figure 5, and then translated into a file as depicted in Figure 6. An example is a linked list with a node for every beat of the piece on which a note is played. The event with the smallest key is assigned to the lowest note (F-2), the event with the next smallest key is assigned to the second lowest note (C-1) and so on. Therefore, if Program B is really to deliver Bob the feeling of hearing what he plays when he plays it, it has to generate NOTE-ON events as soon as it receives them --- it cannot wait to get all four and then play them.
This lets Bob ``make a mistake', for example, by only playing three notes on the third playable beat rather than four. Program B thus lets Bob play any piece of music by playing an key for every note of the piece. However, certain control events (such as the pedal or program changes) are best passed back to the instrument.
However, since the matching must be performed before all the notes are played, Program B must guess. By convention, I divide the keyboard into two parts --- the notes below middle C, and the notes above and including middle C. Then, when all the NOTE-ON events for a playable beat have been played, Program B assesses how well it guessed. For example, suppose Bob wants to play ``Happy Birthday'' as shown in Figure 4 in the following way.
The notes in the tie lines are linked to the notes in the lines to which they are tied, and these links are annotated with percentages. If it matches a note that has other notes tied to it, then it emits NOTE-ON events for the note and the tied notes. For example, suppose Bob would like to play ``Happy Birthday'' by simply playing the notes of the melody.
The NOTE-OFF events for the other three notes are tied to the NOTE-OFF event for the fifth note of the piece. A program then reads this file and converts it into a data structure which orders the notes by when they are expected to be played. If we are only interested in playing one melodic line, then a grace note poses no problems -- a program like Program A only cares about the relative ordering of a sequence of notes. Instead of trying to use past information to match the notes of a ripple, the computer instead simply matches the first note played to the lowest note, the second to the second lowest note, and so on.
If the hands are separated, then within a measure the two hands may play at different tempos.
For slower pieces, or when both hands play in tight synchronization, playing with the hands together works better. Since the format is an ASCII format, the user may also create files with a standard text editor.
Evidently his machine had two such regions, one for the left hand and one for the right hand. Within each region, the input file can specify that any number of notes be played per beat. Look for the lead sheets below, and a two-hand melody version for beginning pianists (with optional duet secondo), and also a simple piano arrangement with chords.
Catherine Hahn, a wonderful woman) began her students with this "bass note, chord, chord" approach, using all root-position chords instead of inversions. Originally the words weren't Happy Birthday at all, but "Good morning to you, good morning to you. After years of singing professionally I am finally making myself re-learn the piano in order to play for myself and to do some piano bar work. However, Bob would like to play a wider variety of pieces, including [i] pieces that are technically too challenging for his current level of skill and [ii] pieces that he does not have the time to learn or practice.
The file also contains additional information (defined later in this document) that helps drive the performance. Moreover, if Bob's keyboard can sense how hard he presses the keys, then this information is used to direct how loudly the computer plays the notes. Most importantly, though, Bob still controls the performance in terms of dynamics, expression, tempo, etc.

The instrument generates musical events such as ``note on'', ``note off'', ``pedal down'', etc. It also contains information about how the events that the performer generates will cause the notes of the piece to be played. It can be made very easy, where the entire piece may be played by repeatedly pressing one key on a keyboard, or it can be made very complex, where each event of the piece must be specified by a concommitant event by the performer. The identity of the key that is pressed is unimportant in this simple example -- Bob may play any note to start the piece.
We term this a ``playable beat.'' The node is itself a linked list containing every note that is played on that beat. Then NOTE-ON events are generated for each note, each event using the same velocity as its corresponding NOTE-ON event.
This means that Program B should match each NOTE-ON event to one of the four notes as soon as the event arrives. As such, Bob has control over every note of the piece: its loudness, when it is played, and when it stops playing. In other words, it is natural for a performer to play in such a way that Program B guesses correctly a large percentage of the time, and therefore that Program B produces music that sounds to Bob like what he means to be playing. Any note played that is below middle C is automatically assigned to the left hand, and any note at or above middle C is assigned to the right hand.
If it guessed correctly, then it records the key values that matched for each line, remembering each for the next matching. The notes on the upper bar will be played by his right hand, and the notes on the lower bar will be played by his left hand.
One way for Bob to do this is to change the file so that line LH1 becomes ``LINE TL3 RH1 85}'', and to change lines TL1 and TL2 so that they tie to RH1 (with percentages of 81 and 85 respectively) instead of LH1. It then receives events from the performer, and either passes these events straight through to the synthesizer (in the case of control events), or matches them to the notes of the piece, and emits NOTE-ON and NOTE-OFF events for the matching notes. However, if one line of notes includes grace notes and another line does not, it is typically up to the performer to decide how those notes are played relative to one another.
When the computer receives a NOTE-ON event that it matches a note that is to be trilled, it then waits to receive a NOTE-ON event for any key that is a half or whole step away from the key that triggered the first NOTE-ON event. However, if one hand reaches the beginning of the next measure before the other, then both hands skip to the beginning of that measure. In either case, it sometimes happens that the performer makes some mistakes and can't figure out where he is supposed to be in the music. Besides allowing the performer to play pieces in real-time, Program C creates a MIDI file so that the performer can later play back and post-process what he has played. Thus, the performer could strike two keys on a beat -- one with the left hand, and one with the right hand.
The matching of key to note is performed with the heuristic of described in the ``Matching Heuristics'' section.
He memorized it that week and I'm printing off the other Halloween songs to keep him going.
This paper provides a motivation, overview, historical perspective, and details on the algorithms used to provide computer-assisted musical performance. Thus, the computer does not perform the piece for Bob ~ Bob performs the piece using the computer.
The playing of the instrument simply generates musical events that are sent through an output (MIDI) port of the instrument.
The computer matches the input events to the notes of the piece, and emits output events which are to be played by a sound synthesizer. In the former case, the piece is easy to play, but gives the performer only limited control of the expression of the piece. A ``program change'' is another kind of control event that instructs the synthesizer to synthesize sounds from a different instrument. However, he knows that the first key pressed plays the first note, the second plays the second and so on. Granted, Bob must have some understanding of how Program B matches the notes he plays to the notes of the piece, but experience has shown that this matches a performer's intuitive notion about which notes be matched to which events. By passing control events back to the instrument, Bob may employ the pedals in the exact same manner as on a real piano. However, if it guessed wrong, then it sorts the key values of all the NOTE-ON events, and remembers the values that would have been correct for each line. The velocity of each tied note is equal to the product of the event's velocity and the tied note's percentage. When multiple events are expected, the program must use some heuristic to perform the matching.
For example, Figure 11(a), shows a two-note chord with two grace notes ornamenting the topmost note. These two keys are then set to be the trill keys for that note, and as long as these notes are alternated, the trill is continued.
For example, suppose that four notes are to be played on a chord, and the performer presses five keys. If the hands are together, then the tempo estimation (where tempo is a function of the speed at which the two previous beats were played) is used to decide whether the event is ignored or whether beats should be skipped. In the patent, Strangio describes a machine where sequences of notes may be stored in one of many memory banks. If multiple notes were to be performed on a beat, they had to be triggered either by the key from the left hand or the key from the right hand. The intent of this feature is to give the performer more control -- chords feel like chords, and multiple melodic lines can be played by a single hand, which has explicit control over each line. I think the G version is easier.Here are the Middle-C versions for beginner piano students, the easiest arrangements of all.
I also live in the middle of nowhere so buying from a shop is not really an option unless I fancy a 120 mile round trip for a piece of sheet music! In the picture, the synthesizer is part of the electronic instrument, but it could just as easily be the sound card on the computer.
In the latter case, the piece is harder to play, but gives the performer more control over the performance.
For example, most electronic keyboards can synthesize piano sounds and organ sounds -- the Program-Change event allows the performer to tell the synthesizer which sounds to emit.
Upon getting that event, it matches it with the first note on the list (C0), and sends the (Note-On 60 80) event to the keyboard, which then plays C0 at a velocity of 80. This guessing may be done by simple heuristics, such as using information about which keys were matched to previous notes on each line, but in the end, it is just a guess. For example, the damper pedal will allow notes to be held past their NOTE-OFF events, just as on the piano.
A suitable heuristic is one which partitions the keyboard into regions for left- and right-hand notes, and then uses information about past matchings to help choose which notes to match within each partition.
However, the software continues to attempt to match other notes, and as soon as the note following the trill in the trill's line is matched, the trill is stopped.
As described above, Program B will play all four notes of the chords, plus a note from the next playable beat. A keyboard is then partitioned into regions, and whenever a key from a certain region is pressed, the next note from that region's memory bank is played. Instead, the keyboard translates Bob's key presses and releases into events that are sent to the computer (typically using the MIDI standard).
For example, he probably will play the D0 louder than the rest, but will hold the other three notes while he plays the C0 and E0 of Line 1. When the NOTE-OFF event comes in for a note with tied notes, then NOTE-OFF events are emitted for all the notes. This patent was the inspiration behind keyboards from Casio where special keys triggered the playing of sequences of stored notes.
This generates an event such as (Note-Off 65 64) (note that the velocity is typically ignored).
This is a function of the actual time between when notes from these beats are played, and the duration of the time between the beats in the music (e.g.
As depicted in Malinowski's video, he developed some very creative techniques for playing fast pieces with his software. These may be played by the computer's sound card, or sent to a sound synthesizer, perhaps attached to Bob's keyboard. Program A recognizes this as the end of the first note, and sends the event (Note-Off 60 64) to the keyboard, which in turn stops playing C0. 0.5 second), then the program can discard the NOTE-ON event (and subsequent NOTE-OFF event) as a mistake.

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  • BAKILI_BMV, 21.07.2014 at 18:53:46

    May open/prop up the top barely (above left pic) to set free serious.
  • mikrob, 21.07.2014 at 19:32:23

    Piano, organ, synth, and special symbols for pauses in play forum is the.
  • Kristina, 21.07.2014 at 19:52:24

    MIDI Files (SMF??ormid information) are a popular source whether or not a particular used.
  • Lala, 21.07.2014 at 10:50:34

    Staff, bass staff, treble clef the rhythm observe, however.