In
order to become great you ought to start from somewhere. that is why at
the lowest level of education(k-12 levels) we have class prefects then
to school prefects, as you climb higher the educational levels more
responsibilities comes with the power you have as a student leader.
A leader must be visionary and not just make followers but rather produce more leaders, this a quality of a good leader.
what
do we see in our student leadership nowadays, the campaign to fight
corruption in my humble opinion should start from students leadership.
why am i saying so the political leaders all came out from our various
educational institutions where they build their political career through
student leadership, in that sense to be able to combat corruption we
must start from the root source.
let's
get back to our discussion on students leadership. it is a good thing
for students to aspire for leadership roles in our various institutions
as this intends build them up academically, socially and in all sphere
of life.
Then
the question pops up : is the motive for establishing student
leadership still relevant? one school of thought will say yes because
students are managing their affairs whiles there is another school of
thought that thinks otherwise in the sense that, either the leadership
is working for school administration which is some how fair enough or
working for themselves as in the the leadership against the core mandate
to work for the students.
One
notice trend we can see is who are the candidates going for the
leadership positions : handsome or beautiful, intelligent and popular,
influence or connection they have, you just name them and when they
manage to get to the vetting that is why it all start "nightmare or
greatness".
you
will notice that school administration would love to have a student
leadership that they can manipulate in terms of having the student
leadership working for them so at the vetting you will see that
candidate students perceive will work for them and fight for their needs
will be evicted strategically to enable the controllable candidate pass
the vetting. so in this type of student leadership you will notice that
all the policy they will roll out won't favor students and when school
administration rolls out policy that victims students they won't
advocate for students, here the students are left helpless and all they
could do is pray for their term of leadership to end.
Then
in comes the student leadership that work for themselves as in the
executives benefiting, under this leadership they pretend to be working
for students but in real fact their are just using the students to front
their greedy deeds. and this type of leadership when they leave office
acquire lots of properties ranging from vehicles to monies.
imagine
paying an s.r.c dues of Ghana cedis seventy and all that you get is an
8gig pen drive which not all are up to the 8gig not all are working and
on top of that too you won't provide it for all students and when
students complain you give them beautiful excuses, you are mesmerized
when a huge bus is purchase at an inflated cost failing to meet the
requirements you give (air condition, well spaced, smooth ride) only for
the bus to arrive and that is the end that bus never made any journey
apart from the sale store to campus. Well as some may say the witches
are at work some see foul play. all work and no play make jack a dull
boy we all recite by heart, once in awhile we must entertain ourselves
to release stress from the tight academic work. then you plan a week of
celebration which students even don't know when,where and what event
took place but money are spent and those suppose to benefit don't get
anything to climax it is to bring an artist who will perform under five
minutes and drives home with a senior lecturers life savings as
performance fees prior to that are poor organization of the event
fueling students anger making them destroy properties and you think you
aren't to be blame, i guess we all deserve share in the blame.
Now
that another student leadership is near, will history or tradition
repeat itself or there will be restoration to the original motive?
we
all have a role to play and you must play yours well so we don't come
and start asking where did we go wrong again.
Tuesday, 4 April 2017
Sunday, 2 April 2017
#CodeChallenge : dare the un-dared
Just occurred to me why not put this concept to reality, after all learning is at it's peak when done through fun.
how best are your codes?
and your coding language is what?
all you have to do is challenge a friend to this questions.
All got you got to do is write your code in any language of your choice then challenge a friend to it.
#CodeChallenge
imagine
#include <iostream>
using namespace std;
int main(){
int a;
int b;
cout<<"b= name of friend you challenge"<<endl;
cin>>b
if(a=your codes in any language){
cout<<"a=yours codes"<<endl;}
}
sounds simple right just wait until you are challenged there you will see codes of codes.
is the #CodeChallenge dare the un-dared
how best are your codes?
and your coding language is what?
all you have to do is challenge a friend to this questions.
All got you got to do is write your code in any language of your choice then challenge a friend to it.
#CodeChallenge
imagine
#include <iostream>
using namespace std;
int main(){
int a;
int b;
cout<<"b= name of friend you challenge"<<endl;
cin>>b
if(a=your codes in any language){
cout<<"a=yours codes"<<endl;}
}
sounds simple right just wait until you are challenged there you will see codes of codes.
is the #CodeChallenge dare the un-dared
Monday, 20 March 2017
SHOULD USAGE OF PHONES BE ALLOWED IN OUR HIGH SCHOOLS ?
Over the years we have witness the devastating impact phones has on students academic, social and moral lives, thereby prompting policy makers to banned it use in order to safeguard their futures leaders from becoming unproductive misfits in society.
One question question left to be answered by policy makers is " What are they doing about the phone producing companies". a look at the market and you will be amazed at the range of sophisticated phones with various degrees of functionality, at the top of the consumer chain is our beloved high school students.
Once technology is advancing our students also advance in their tricks of hiding and using of phones on our various campuses. i once visited my senior housemaster office way back in high school and in one side of his office is this huge "chop box" much bigger than a first year student own and in it are phones which dated years before i wrote my Basic Certificate Examination meaning upon all the rules made to banned phone usage in high school students still use phones on campus.
Then one will asked are the laws not enforce ? yes they are enforce and there are some many disciplinary actions taken against this, so why then are students still bent on using phones in school?
this is a question currently been research on by several educationist and calls for all stake holders to take part in this discussion.
It is here with us and we can not change it but all we need to do is adjust to it, what am i trying to say the world is changing and technology seems to spear head the change and everybody acknowledge this fact and that it is the basis for development to take place.
So why then not shift the goal post from the thousands of negatives reasons why phones should not be use in high school to a more productive program as to How can we safeguard our students to use phones for not just educational benefits but social and moral aspect too.
I could remember once in my physics class in high we were doing a lesson on projectiles and truth be told only God knows what i learn that day cause the whole lesson was full of " ASSUME" with this what will become of me after school since i was taught to assume everything, from my point of view i will say nothing is real since it is all fictions but should technology be embedded in high school curriculum i would have watch dozen tutorials or even perform simulations all fostering my knowledge.
Imagine a teacher prepares notes then upload it on all students platform (Facebook, whats app, twitter) all that a students does is to access, those files and read when he or she finds difficulties they collaborates on discussions platform to solve issues, mind you the 21st century learning ability of students is to
- think critically
- collaborative learning
with this i suggest is time we start discussing and focusing our resources and time on how to successfully integrate the traditional classroom to modern trends with technology as the main theme.
is time our systems resumes producing educated students not schooled students.
Saturday, 18 March 2017
MUSIC THEORY GLOSSARY
MUSIC THEORY GLOSSARY
Accelerando
Is a term used for gradually accelerating or getting faster as you play a piece of music.
Allegro
Is a term used to describe a tempo that is at a “lively” speed.
Andante
Is a term used to describe a tempo that is at a “slow and easy” speed.
Alternate Picking
Involves the pick hand – The first note is picked down, the second note up, the third note down, the fourth note up, and so on… (also called “down – up – down – up” picking). One of the most important fundamentals that need to be learned and practiced (alternating picking helps improve speed).
Arpeggio
A chord that is played one note at a time (instead of strumming the chord, the notes are played as single notes). The Arpeggio is frequently used in advanced lead playing (rock, metal, jazz, etc).
Arrangement
The arrangement refers to a song and how the instruments are structured and organized (according to the arranger). Example: Any song could be played by an orchestra, but it would need to be “arranged” for the different types of instruments, etc.
Bar
A sub division of time in music (one measure of a piece of music).
Bar Line
A line (vertical) which divides measures (bars) of music (shows the beginning and end of each measure).
Beat
The “Beat” can be described formally as a subdivision of musical time that is felt as the pulse within a piece of music (a basic unit of length in musical time).
BPM (beats per minute - bpm)
On a metronome it refers to the "clicking speed."
Chords
A combination of two or more notes sounded simultaneously (played at the same time). There are regular and barre chords (major, minor, diminished, augmented, minor 7th, minor 9th, to name a few).
Chord Progression
A group of chords played in sequence (in a defined order).
Ex: G / / / C / / / G / / / D / / / C / / / G / / / (is a chord progression in the Key of G)
Chorus The part of a song that the verse and bridge usually builds to, and is the main melody that is repeated over and over (the “hook” of the song).
Chromatics
Sharps, Flats, Rests, etc. Usually refers to the 12-notes that make up a scale using all the semitones of the octave (notes 1 – 12).
Chromatic Scale
Refers to the 12 notes that make up a scale using all the semitones of the octave (notes 1 – 12). Chromatic scales are easy to play – all you have to do is start on a note, and play every fret until you get to the note’s octave (all half steps).
Example: F, F#, G, G#, A, A#, B, C, C#, D,D#, E, F (you actually play 13 notes if you count the last “F” note, but there are only 12 different notes in the Chromatic Scale).
Clef
The symbol at the very beginning of a piece of music (first symbol that appears on the staff). The “Treble” clef (or “G” clef) is generally used to notate notes which are higher in pitch, and the “Bass” clef is used to notate the lower notes.
Double Bar Line
Two vertical lines (double bars) that indicate the “end” of the section (or piece of music).
Down Stroke / Down Pick
Refers to the pick hand strumming or picking from top to bottom (downward).
Dotted Half Notes
When a dot is placed after a half note (or any note) it increases the notes value by one half. A dotted half note is equal to three beats (half note equals two beats – dot equals one beat).
Duration
One of the characteristics of a tone. The “length” of a tone.
Dynamics
One of the characteristics of a tone. The “force” (loudness or softness) of a tone.
Eighth Note
A beat that receives half of a beat (two eighth notes = one quarter note = one beat).
Eighth Rest
The eighth note rest symbol will indicate silence for one half of a beat.
Flat
Lowers a note or chord one half-step in pitch (lowering one fret equals a half-step).
Four / Four Time
Also called “Common Time” – Four / Four time is a time signature that indicates that there are four beats per measure, and that each quarter note will receive one beat.
Fret A strip of metal (vertical metal bars) that are placed on the neck (fretboard). The term usually refers to the space between two of the metal bars (or the nut and the first metal bar for the 1st fret) on the fret board that indicates locations of notes.
Half Note
The Half note is two beats long (twice that of a quarter note).
Half Rest
The half note rest symbol will indicate silence for two beats.
Half Step
Is equal to one fret on the guitar or bass guitar (notes right next to each other).
Harmonize
Can refer to vocals, guitar leads, etc – Harmonizing is when two or more notes are sung or played together (in unison).
Harmony
Two or more notes sounded together (in unison).
Harmonic Tones Are secondary notes that can be produced by lightly touching the string above the 5th, 7th, or 12th fret (directly over the fret wire). Although harmonic tones can be produced at the 5th, 7th, and 12th frets – there are other ways to produce harmonic tones also. Harmonic tones are also used for tuning the guitar (works well because there is no bending of the strings).
Hexatonic Scale
A scale that consists of six notes per octave.
Interval
Best described as the distance between two notes.
Key
The key of a song or piece of music tells a musician what scales, chords, or notes that can be used. The easiest way to find what key a song is in is by looking at the key signature (which is found right after the clef sign on a piece of music).
Key Signature
The key signature indicates if there are any sharps or flats in the piece of music (which will identify the key). There are twelve different key signatures, and each key signature will have a major key and a minor key.
Ledger Lines
When notes are placed above or below the musical staff – these “extra” lines are called ledger lines.
Legato
The Legato technique usually requires playing notes (mostly using hammer-ons and pull-offs) that are close to each other and are on the same string. Basically the opposite of the Staccato technique.
Major Chord A major chord consists of the 1st, 3rd, and 5th notes of a major scale.
Moderato
Is a term used to describe a tempo at a “medium or moderate” speed.
Modulation
Refers to changing “keys” within a piece of music.
Melody
Usually the most recognizable part of the song (and can be described as a succession of musical notes played one after another).
Natural
When the Natural symbol is placed next to a note it means to “cancel” any sharps or flats previously used within that bar of music (restores a note to its original position).
Noise
Best described as sounds caused by “irregular” vibrations (firecracker, door slamming, etc).
Note Notes can have three parts – the Head, Stem, and Flag. When a note is placed on the staff, the note takes on the name of the line or space they are placed on. Once placed on the staff the note will then indicate the duration and the pitched sound of the note.
Octave Two notes with the same name, but at a different location on the fretboard. One example of an octave would be using the notes C-D-E-F-G-A-B-C (C scale); these notes form an octave from one C note to the next C note. One example of an octave in “E” would be to play the top “E” string open, then play each “E” note until you reach the 12th fret (E).
Open String
Refers to a string that is played without fretting a note.
Open String Chord
Chords that contain open strings.
Open Tunings
There are many different “Open Tunings” used by guitarists, and can be described as the result of changing the tuning of one or more strings from the standard E-A-D-G-B-E tuning.
Outro
The last few measures of a song, usually made up of four or eight bars of the chorus.
Pentatonic Scale
A scale that consists of five notes per octave – a very popular rock scale.
Picking
Striking or Plucking to produce sounds on the guitar (using picks, fingers, etc).
Pitch Any sound (frequency) generated by vibrating a string (the high or low of a sound). On some analog tuners the center position pitch (frequency) is 440Hz (usually shown as A = 440).
Quarter Note
The Quarter note (beat) is one beat long (in four / four time, there would be 4 quarter notes and each would receive one beat).
Quarter Rest
The quarter note rest symbol will indicate silence for one beat.
Relative Key
A relative minor key (scale) is built upon the sixth note of a major key (scale). Every major key will have a relative minor key.
Relative Pitch Best described as the “comparison” of one pitch to another pitch (example would be tuning a string so that it matches the pitch of another string).
Repeat Sign
The repeat sign is shown by placing two dots before a double line at the beginning and end of a section of music (this will indicate that this section of music is to be repeated).
Rest
A symbol that is placed on the musical staff that indicates a silence (depending on the rest symbol shown). See eighth rest, half rest, quarter rest, and whole rest.
Rhythm
The rhythm drives the music, and controls the movement (timing).
Ritardando
Describes the act of gradually delaying or slowing down the tempo of a piece of music.
Root (Root Note) The “root” is the first note of a scale and can indicate the “key.” Chords can be named for their root note, but the root note does not necessarily have to be played.
Scale
Basically a scaled is a series of notes in an ascending or descending order. There are many different Modes of scales – such as the Major, Ionian, Dorian, Lydian (and more…). The main scale used in rock music is the “minor pentatonic” scale (a 5-note scale).
Sharp
Raises a note or chord one half-step in pitch (raising a note one fret equals a half-step).
Slur
Often used with the Legato technique – means to smoothly glide over a series of notes, without a break.
Sound Can be described as any “sound” made by a noise or a tone.
Staccato
A technique using only alternating picking.
Staff
Consists of five lines and four spaces, notes are placed on the lines and spaces to represent notes.
Standard Tuning
The standard tuning for a guitar is E-A-D-G-B-E (low string to high string).
Stem
A vertical line that appears above or below a note.
Strumming
Strumming can be achieved by using a pick, or using fingers. The act of striking (brushing across) two or more strings simultaneously using up or down strokes (or a combination of up and down strokes).
Sustain Is the length of time (the duration) that a guitar or bass string vibrates. The longer a note can be heard, the longer the sustain.
Syncopate
To purposely play a rhythm off-beat (also stressing or accenting a weak beat).
Tablature (TAB)
An easier way of reading and writing music. Most guitar music books these days are written in TAB – all guitarists and bass players should be familiar with reading tablature. One difference between Reading music and Tablature is that with Reading music you are actually reading notes, and with Tablature you are reading numbers that indicate frets (notes) on the guitar or bass.
Tempo
Best described as the “speed” (or rate of speed) of a piece of music.
Three / Four Time
Three / Four time is a time signature that indicates that there are three beats per measure, and that each quarter note will receive one beat.
Tie
Is a curved line that joins (connects) two notes of the same pitch – these notes are played as “one” using the time value of both notes.
Timbre
A term used to define the “quality” of a tone.
Time Signature
The fraction looking symbol (or sign) at the beginning of a piece of music (right after the clef sign) that indicates how many beats in per measure (top number), and how long each beat will last (bottom number). See Four/Four, Three/Four Time.
Tone The combination of pitch, duration, dynamics, and sound character (quality) produced by any instrument or equipment used by the instrument. Tone can be defined as a sound produced by “regular” vibrations.
Transcribe (Transcription)
Refers to the breakdown (dissection) of a piece of recorded music, and writing it down (usually note for note).
Transpose (Transposing)
Is best described as changing the “key” of a piece of music (to a different key).
Tremolo
A technique that uses a very rapid down-up movement of the pick. Also a term used for whammy bar, tremolo arm, and vibrato.
Triad
Basically a “three note” chord.
Two / Four Time
Two / Four time is a time signature that indicates that there are two beats per measure, and that each quarter note will receive one beat.
Up Stroke / Up Pick
Refers to the pick hand strumming or picking from bottom to top (upward).
Verse The part of a song (or piece of music) that comes after the intro and leads up to the chorus (the part of the song that tells the story.
Voicing
The arrangement of notes of a chord. Also the arrangement (or placement) of a melody or bass line within a harmonic progression.
Whole Note
The Whole note is four beats long (twice that of a half note). Also described as one beat that lasts for a whole measure (bar) with a time signature of Four/Four.
Whole Rest
The Whole note rest symbol will indicate silence for four beats.
Whole Step
A whole step is equal to two frets on the guitar or bass guitar. For example: An “F” note is one whole step away from a “G” note.
Accelerando
Is a term used for gradually accelerating or getting faster as you play a piece of music.
Allegro
Is a term used to describe a tempo that is at a “lively” speed.
Andante
Is a term used to describe a tempo that is at a “slow and easy” speed.
Alternate Picking
Involves the pick hand – The first note is picked down, the second note up, the third note down, the fourth note up, and so on… (also called “down – up – down – up” picking). One of the most important fundamentals that need to be learned and practiced (alternating picking helps improve speed).
Arpeggio
A chord that is played one note at a time (instead of strumming the chord, the notes are played as single notes). The Arpeggio is frequently used in advanced lead playing (rock, metal, jazz, etc).
Arrangement
The arrangement refers to a song and how the instruments are structured and organized (according to the arranger). Example: Any song could be played by an orchestra, but it would need to be “arranged” for the different types of instruments, etc.
Bar
A sub division of time in music (one measure of a piece of music).
Bar Line
A line (vertical) which divides measures (bars) of music (shows the beginning and end of each measure).
Beat
The “Beat” can be described formally as a subdivision of musical time that is felt as the pulse within a piece of music (a basic unit of length in musical time).
BPM (beats per minute - bpm)
On a metronome it refers to the "clicking speed."
Chords
A combination of two or more notes sounded simultaneously (played at the same time). There are regular and barre chords (major, minor, diminished, augmented, minor 7th, minor 9th, to name a few).
Chord Progression
A group of chords played in sequence (in a defined order).
Ex: G / / / C / / / G / / / D / / / C / / / G / / / (is a chord progression in the Key of G)
Chorus The part of a song that the verse and bridge usually builds to, and is the main melody that is repeated over and over (the “hook” of the song).
Chromatics
Sharps, Flats, Rests, etc. Usually refers to the 12-notes that make up a scale using all the semitones of the octave (notes 1 – 12).
Chromatic Scale
Refers to the 12 notes that make up a scale using all the semitones of the octave (notes 1 – 12). Chromatic scales are easy to play – all you have to do is start on a note, and play every fret until you get to the note’s octave (all half steps).
Example: F, F#, G, G#, A, A#, B, C, C#, D,D#, E, F (you actually play 13 notes if you count the last “F” note, but there are only 12 different notes in the Chromatic Scale).
Clef
The symbol at the very beginning of a piece of music (first symbol that appears on the staff). The “Treble” clef (or “G” clef) is generally used to notate notes which are higher in pitch, and the “Bass” clef is used to notate the lower notes.
Double Bar Line
Two vertical lines (double bars) that indicate the “end” of the section (or piece of music).
Down Stroke / Down Pick
Refers to the pick hand strumming or picking from top to bottom (downward).
Dotted Half Notes
When a dot is placed after a half note (or any note) it increases the notes value by one half. A dotted half note is equal to three beats (half note equals two beats – dot equals one beat).
Duration
One of the characteristics of a tone. The “length” of a tone.
Dynamics
One of the characteristics of a tone. The “force” (loudness or softness) of a tone.
Eighth Note
A beat that receives half of a beat (two eighth notes = one quarter note = one beat).
Eighth Rest
The eighth note rest symbol will indicate silence for one half of a beat.
Flat
Lowers a note or chord one half-step in pitch (lowering one fret equals a half-step).
Four / Four Time
Also called “Common Time” – Four / Four time is a time signature that indicates that there are four beats per measure, and that each quarter note will receive one beat.
Fret A strip of metal (vertical metal bars) that are placed on the neck (fretboard). The term usually refers to the space between two of the metal bars (or the nut and the first metal bar for the 1st fret) on the fret board that indicates locations of notes.
Half Note
The Half note is two beats long (twice that of a quarter note).
Half Rest
The half note rest symbol will indicate silence for two beats.
Half Step
Is equal to one fret on the guitar or bass guitar (notes right next to each other).
Harmonize
Can refer to vocals, guitar leads, etc – Harmonizing is when two or more notes are sung or played together (in unison).
Harmony
Two or more notes sounded together (in unison).
Harmonic Tones Are secondary notes that can be produced by lightly touching the string above the 5th, 7th, or 12th fret (directly over the fret wire). Although harmonic tones can be produced at the 5th, 7th, and 12th frets – there are other ways to produce harmonic tones also. Harmonic tones are also used for tuning the guitar (works well because there is no bending of the strings).
Hexatonic Scale
A scale that consists of six notes per octave.
Interval
Best described as the distance between two notes.
Key
The key of a song or piece of music tells a musician what scales, chords, or notes that can be used. The easiest way to find what key a song is in is by looking at the key signature (which is found right after the clef sign on a piece of music).
Key Signature
The key signature indicates if there are any sharps or flats in the piece of music (which will identify the key). There are twelve different key signatures, and each key signature will have a major key and a minor key.
Ledger Lines
When notes are placed above or below the musical staff – these “extra” lines are called ledger lines.
Legato
The Legato technique usually requires playing notes (mostly using hammer-ons and pull-offs) that are close to each other and are on the same string. Basically the opposite of the Staccato technique.
Major Chord A major chord consists of the 1st, 3rd, and 5th notes of a major scale.
Moderato
Is a term used to describe a tempo at a “medium or moderate” speed.
Modulation
Refers to changing “keys” within a piece of music.
Melody
Usually the most recognizable part of the song (and can be described as a succession of musical notes played one after another).
Natural
When the Natural symbol is placed next to a note it means to “cancel” any sharps or flats previously used within that bar of music (restores a note to its original position).
Noise
Best described as sounds caused by “irregular” vibrations (firecracker, door slamming, etc).
Note Notes can have three parts – the Head, Stem, and Flag. When a note is placed on the staff, the note takes on the name of the line or space they are placed on. Once placed on the staff the note will then indicate the duration and the pitched sound of the note.
Octave Two notes with the same name, but at a different location on the fretboard. One example of an octave would be using the notes C-D-E-F-G-A-B-C (C scale); these notes form an octave from one C note to the next C note. One example of an octave in “E” would be to play the top “E” string open, then play each “E” note until you reach the 12th fret (E).
Open String
Refers to a string that is played without fretting a note.
Open String Chord
Chords that contain open strings.
Open Tunings
There are many different “Open Tunings” used by guitarists, and can be described as the result of changing the tuning of one or more strings from the standard E-A-D-G-B-E tuning.
Outro
The last few measures of a song, usually made up of four or eight bars of the chorus.
Pentatonic Scale
A scale that consists of five notes per octave – a very popular rock scale.
Picking
Striking or Plucking to produce sounds on the guitar (using picks, fingers, etc).
Pitch Any sound (frequency) generated by vibrating a string (the high or low of a sound). On some analog tuners the center position pitch (frequency) is 440Hz (usually shown as A = 440).
Quarter Note
The Quarter note (beat) is one beat long (in four / four time, there would be 4 quarter notes and each would receive one beat).
Quarter Rest
The quarter note rest symbol will indicate silence for one beat.
Relative Key
A relative minor key (scale) is built upon the sixth note of a major key (scale). Every major key will have a relative minor key.
Relative Pitch Best described as the “comparison” of one pitch to another pitch (example would be tuning a string so that it matches the pitch of another string).
Repeat Sign
The repeat sign is shown by placing two dots before a double line at the beginning and end of a section of music (this will indicate that this section of music is to be repeated).
Rest
A symbol that is placed on the musical staff that indicates a silence (depending on the rest symbol shown). See eighth rest, half rest, quarter rest, and whole rest.
Rhythm
The rhythm drives the music, and controls the movement (timing).
Ritardando
Describes the act of gradually delaying or slowing down the tempo of a piece of music.
Root (Root Note) The “root” is the first note of a scale and can indicate the “key.” Chords can be named for their root note, but the root note does not necessarily have to be played.
Scale
Basically a scaled is a series of notes in an ascending or descending order. There are many different Modes of scales – such as the Major, Ionian, Dorian, Lydian (and more…). The main scale used in rock music is the “minor pentatonic” scale (a 5-note scale).
Sharp
Raises a note or chord one half-step in pitch (raising a note one fret equals a half-step).
Slur
Often used with the Legato technique – means to smoothly glide over a series of notes, without a break.
Sound Can be described as any “sound” made by a noise or a tone.
Staccato
A technique using only alternating picking.
Staff
Consists of five lines and four spaces, notes are placed on the lines and spaces to represent notes.
Standard Tuning
The standard tuning for a guitar is E-A-D-G-B-E (low string to high string).
Stem
A vertical line that appears above or below a note.
Strumming
Strumming can be achieved by using a pick, or using fingers. The act of striking (brushing across) two or more strings simultaneously using up or down strokes (or a combination of up and down strokes).
Sustain Is the length of time (the duration) that a guitar or bass string vibrates. The longer a note can be heard, the longer the sustain.
Syncopate
To purposely play a rhythm off-beat (also stressing or accenting a weak beat).
Tablature (TAB)
An easier way of reading and writing music. Most guitar music books these days are written in TAB – all guitarists and bass players should be familiar with reading tablature. One difference between Reading music and Tablature is that with Reading music you are actually reading notes, and with Tablature you are reading numbers that indicate frets (notes) on the guitar or bass.
Tempo
Best described as the “speed” (or rate of speed) of a piece of music.
Three / Four Time
Three / Four time is a time signature that indicates that there are three beats per measure, and that each quarter note will receive one beat.
Tie
Is a curved line that joins (connects) two notes of the same pitch – these notes are played as “one” using the time value of both notes.
Timbre
A term used to define the “quality” of a tone.
Time Signature
The fraction looking symbol (or sign) at the beginning of a piece of music (right after the clef sign) that indicates how many beats in per measure (top number), and how long each beat will last (bottom number). See Four/Four, Three/Four Time.
Tone The combination of pitch, duration, dynamics, and sound character (quality) produced by any instrument or equipment used by the instrument. Tone can be defined as a sound produced by “regular” vibrations.
Transcribe (Transcription)
Refers to the breakdown (dissection) of a piece of recorded music, and writing it down (usually note for note).
Transpose (Transposing)
Is best described as changing the “key” of a piece of music (to a different key).
Tremolo
A technique that uses a very rapid down-up movement of the pick. Also a term used for whammy bar, tremolo arm, and vibrato.
Triad
Basically a “three note” chord.
- Triplets
Two / Four Time
Two / Four time is a time signature that indicates that there are two beats per measure, and that each quarter note will receive one beat.
Up Stroke / Up Pick
Refers to the pick hand strumming or picking from bottom to top (upward).
Verse The part of a song (or piece of music) that comes after the intro and leads up to the chorus (the part of the song that tells the story.
Voicing
The arrangement of notes of a chord. Also the arrangement (or placement) of a melody or bass line within a harmonic progression.
Whole Note
The Whole note is four beats long (twice that of a half note). Also described as one beat that lasts for a whole measure (bar) with a time signature of Four/Four.
Whole Rest
The Whole note rest symbol will indicate silence for four beats.
Whole Step
A whole step is equal to two frets on the guitar or bass guitar. For example: An “F” note is one whole step away from a “G” note.
lifeless
LIFELESS
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
lifeless
LIFELESS
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
lifeless
LIFELESS
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
BY: GABLA GODWIN
Room bleeding with darkness. The night still as young as a baby. On the bed which sat in the corner laid a body. Flat it laid. Half naked. Belly facing heaven. Hands on head clasped as though to support the head from dropping off. 'Kpra!' The lights turned on. The body on the bed couldn't contain the light. Eyes moved towards the direction of the switch. And there he was! The man whose face commanded misery. "And what do you think you are doing?" Papa yankey asked. Silence. "You think you are free? Wait here in this house till tomorrow and you'll see how free you are" He continued. Silence. The door banged and he left. The body on the bed laid still. His mind was faraway in an abyss of strange thoughts. On his feet he stood immediately. A pen from his pocket found his hand. To a table he went. Word after word linked with a drop of tear, he penned a note. His eyes shut in seconds. A minute, two and three. His eyes still shut. Then what looked like meditation grew into weeping.
Then he stood as though he was possessed by an evil spirit. From below the table, he took a bottle. Smallish in size. Sand-brown in colour. One, two, three drops and he swallowed it all. Minutes became hours and all that was left was the body. Lifeless!
Subscribe to:
Comments (Atom)