Form of note is a musical notation designed to facilitate congregation and community singing. The notation, introduced in the late 18th century England, became a popular teaching tool in American singing schools. The form is added to the note head in written music to help the singer find the tone on a large and small scale without using the more complex information found in key signatures on the staff.
Notes of various types have been used for more than two centuries in various musical traditions, mostly sacred but secular, originating from New England, practiced mainly in the South of the United States for many years, and are now experiencing awakening in other locations as well.
Video Shape note
Notes
The idea behind this form of note is that parts of the vocal work can be learned more quickly and easily if the music is printed in a form that matches the syllable solfÃÆ'¨ge with that tone of the musical scale sung. For example, in the four-form tradition used in the Holy Harp and elsewhere, the C major scale records are denoted and sung as follows:
A skilled singer experienced in a shaping tradition has developed an eloquent double mental association, linking scale, shape, and syllabic notes. This association can be used to assist in reading music. When a song is first sung by a group of form notes, they usually sing a syllable (read it from a form) to reinforce their command on the note. Furthermore, they sang the same tone in the words of music.
The syllables and records of the records system are relative rather than absolute; they depend on the key of the work. The first note of the primary key always has a triangle Fa note, followed (up) by Sol, La, etc. The first note of the minor key is always La, followed by Mi, Fa, etc.
The first three notes of every large scale - fa, sol, la - each one apart. The fourth to sixth notes are also separate notes and fa, sol, la. The seventh and eighth notes, separated by semitones, are shown mi-fa. This means that only four shapenote can reflect the overall "feeling" of the scale.
Maps Shape note
Four-shape vs. system seven-shape
The system described above is a four-shape system; six of the scale notes are grouped in pairs for a syllable/combination form. The scale rises using fa, so, la, fa, so, la, mi, fa syllable represents the variation of the hexachord system introduced by Guido's 11th century monk from Arezzo, which originally introduced a six-scale note using utter syllables, mi, fa, sol, la.
The four syllable variants of the original Guido system were very prominent in the 17th century in England, and entered the US in the 18th century. Shortly thereafter, forms were created to represent syllables. (See below). Another important system is the seven-shape system, which gives different shapes and quarters for each scale note. Such a system is used as their syllable, the name of the "do, go back, mi, fa, so, la, ti, do" is familiar to most people. Some books (eg "The Good Old Songs" by C. H. Cayce) present the seven tone syllables older than "do, re, mi, fa, so, la, si, do". In the seven-form system created by Jesse B. Aikin, the record of the C major scale will be denoted and sung as follows:
There are other seven-form systems.
The effectiveness of form notes
A controlled study of the usefulness of form notes was made in the 1950s by George H. Kyme with an experimental population composed of fourth and fifth graders living in California. Kyme is careful to match his experimental group and control group as close as possible to the ability, quality of teachers, and other factors. He found that students who were taught with notes of learned forms to see reading significantly better than those taught without them. Kyme also found that students who were taught with form notes were also far more likely to pursue later musical activity in their education.
Notes and modulations
Many forms of music use modulation, that is, a key change in the middle. Modulation is problematic for the note-form system, because the form used for the original key of the piece no longer matches the degree scale of the new key. At least some form of note-form music, such as Sacred Harp music, generally avoid modulation.
Origin and initial history
As mentioned above, the syllable of the system of forms greatly paralyzes the form. The practice of singing music to a syllable depicting the tone back to about 1000 AD with the work of Guido of Arezzo; Other early works in this field include cipher notation from Jean-Jacques Rousseau (18th century), and the sol-fa tonic from John Curwen (19th century).
American pioneers to form notes including 9th edition of Bay Mazmur Book (Boston), and Introduction to Singing from Psalm Tunes in Plaine & amp; Easy Method by Pastor John Tufts. Issue 9 Bay Mazmur Book is printed with the initials of four syllable syllables (fa, sol, la, me) under the staff. In his book, Tufts replaces the initials of the syllable four notes on the staff at the head of the note, and shows a rhythm with punctuation to the right of the letter.
The record form in the date of music published from the late 18th century America, especially the songbooks written by Boston composer/songwriter William Billings, is carved, printed, and published by Paul Revere. They appeared more widespread in the early nineteenth century, when two publications came out using a note head shaped - The Easy Instructor by William Little and William Smith in 1801, and The Musical Primer i> by Andrew Law in 1803, intended for use in singing schools. Little and Smith use the four-form system shown above. The legal system has a slightly different shape: the square is indicated fa and triangle la , while sol and mi are the same as at Little and Smith. Law's discovery is more radical than Little and Smith in that he shares it with staff altogether, letting the form be the only way to express pitch. Little and Smith followed traditional musical notation in placing heads on staff, in place of the usual oval heads. In the end, it's a winning Little/Smith system, and no current songbook uses the Law system.
Some copies of The Easy Instructor, Part II (1803) include a statement, on the title page verso, where John Connelly (whose name is given in other sources such as Conly, Connolly, and Coloney) and Smith to utilize in their publication of the form of the record of his claimed rights. Little and Smith themselves do not claim credit for this discovery, but instead say that the record was coined around 1790 by John Connelly of Philadelphia, Pennsylvania. Andrew Law confirmed that he was the inventor of the form notes.
Form notes proved popular in America, and quickly various ready-made songbooks utilized them. The forms were eventually persecuted in the northeastern United States by a "better music" movement, led by Lowell Mason. But in the South, its form becomes well-entrenched, and multiplied into various traditions. Kentucky Harmony belonging to Ananias Davisson is generally considered to be the first South-shaped tunebook.
Seven-form system hike
In the mid-19th century, the "fa so la" system of the four syllables had gained a great rival, the seven syllable "do re mi" system. As such, the music compiler began to add three more shapes to their books to be matched with additional syllables. Many seven-shape notations are designed. Jesse B. Aikin was the first to produce a book with a seven-form notes system, and he enthusiastically defended his "invention" and patent rights. The system used in Aikin 1846 Christian Minstrel finally became the standard. It owes much to Ruebush & amp; Kieffer Publishing Company adopted the Aikin system around 1876. Two books that remain in use continuously (though limited), William Walker
Tradition of active form notes
Although seven-form books may not be as popular as in the past, there are still a large number of churches in South America, especially Southern Baptists, Primitive Baptists, almost all non-instrumental Churches of Christ, some Methodists Free, United Pentecostals, and United Baptists in the region Appalachians in West Virginia, Ohio and Kentucky, who regularly use the seven-form songbook in Sunday worship. These songbooks may contain songs from 18th to 20th century classical music. So today's book of denomination chants printed in seven forms may be the largest branch of the record-form tradition.
In addition, interdependent nondenominational community songs are also performed intermittently featuring gospel music beginning of the 20th century through the 20th century such as the Stamps-Baxter or Heavenly Highway hymn. In these traditions, the habit of "singing notes" (syllables) is generally maintained only during the learning process in schools and singing singing may be for instrumental accompaniment, usually piano.
The seven-form system is also still used on regular tracks of 19th century songbooks of a kind similar to the Holy Harp, such as The Christian Harmony and > Harp of New Columbia . Such songs are common in Georgia, North Carolina, Tennessee, Mississippi, and Alabama, and generally preserve the habit of singing school "singing records".
The seven-shape system (Aikin) is usually used by Mennonites and Brethren. Many songbooks are printed in the form of notes for this market. They include Christian Hymnal , Christian Hymnary , Hyms of the Church , The Praise of Zion , Church Hymnal , Silver Gems in Songs and Harmonia Sacra .
Some African-American churches use a seven-form notes system.
The four-form tradition that currently has the largest number of participants is the sacred singing of the harp. But there are many other traditions that are still active or even enjoying an awakening of interest. Among the four-form systems, Southern Harmony is still used continuously in one song in Benton, Kentucky, and is now experiencing a small amount of regrowth. The recall of interest in tone-recordings has also created new songs using the recently-dying four-form songwriters, such as The Missouri Harmony , as well as new books by modern composers, such as Northern Harmony . Thomas B. Malone specializes in the revival of Jeremiah Ingalls 'works, and has published the four-form edition of Ingalls' 1805 The Christian Harmony . Malone held an annual mid-July hymn in Newbury, Vermont, where Ingalls was a shopkeeper and musician between 1789 and 1810.
Nomenclature
Source of the article : Wikipedia
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