=kit015.txt
With an Appendix (sa) on Alphabetic musical notation

Amd a truckload of chutypadike footnotes (sa), almost all
irrelevant as well as irreverent, Gents
"Pardon, gentles all"  
Those have however been Deep_6'd to =kitsa015*.txt
which can no doubt be found somewhere in my chaotic domains,

viz. www.geocities.com/sa73122a , /sa73122c , /sa73122c (current),
and th'associated Briefcases , as well as the Briefcase to my
pseudo_Email adobetozenith@yahoo.com  

If you don't know the passwords, ask someone who does, even me.
Those Briefcases hold most of my PVK text files --  my
transcriptions, inventories, and whatever I have collected and
maybe made more accessible and/or useful, eg these KIT's  --  so
this note was for real.
                                          
Much of what I say ain't, but I do try to make that distinction
clear and easy to detour.                                   
Even typists get bored.

I've input some old PVK tapes, mostly Zenith leftovers (of which I
hope to do a few more soon) but a few others too.

I sent DVD's of that to the SO Abode, att: D.T & S.G., and try to
send a copy to the SO Suresnes, as well as at least MP3 and/or Ogg
Vorbis copies to miscellaneous bigwigs, eg
Aziz_Spartan__the_English_Gentleman.  

But I have not yet found a platform to post them to.
The Yahoo free Webistes are limited to 15 Mb, and the free
Briefcases to 30 Mb, and s 45_minute cassette side takes about 35
Mb even in MP3.
I've heard that the SO ABODE puts its stuff on some server out in
Californiay, but I ain't yet been told that dude's addresses.

[ Tonenote kit015_Intro1 ]



--------------

Now a note on the musical illustrations in this KIT 15.
They're a problem, because I don't know how to copy them, and
anyhow most are of poor quality -- too 'muddy' to read all the
info originally therein, Jim.

I'd guess that these Illustrations were all physically
cut_and_paste (or cut_and_tape) from xeroxes of printed scores,
and all that done by hand by PVK in the 1980's, with relatively
poor equpment, so more muddiness is added at every stage.

Of course now we could redo it with hypertext audio imports.


--------------------------------------------------------------


KIT 15 - Music as a Training in Harmony

This, like all the KIT's I copy here, goes from Kavanian's CD via
Word 2000 to a Save_As__text_only

However KIT 15 is the one KIT that includes illustrations from
Musical Scores, and those did not copy.

So I'll try a workaround.
No workaround found; I'll use my alphabetic notation, and describe
that alphabetic notation in an Appendix.

---------------------------------------------------------------- 

[ START PVK KIT 15 ]


"What we call music in our everyday language is only a miniature
which our intelligence has grasped of that music or harmony of the
whole universe which is working behind everything and which is the
source and origin of nature...the music of the universe is the
background of the small picture which we call music.  Our sense of
music, our attraction to music, shows that there is music in the
depth of our being.  What does music teach us?  Music helps us to
train in harmony.  Man, being a miniature of the universe, shows
harmonious and inharmonious chords.  Vibrations can be changed by
understanding one's life - understanding the rhythm of the mind."
PIR-O-MURSHID INAYAT KHAN

------------------------------

[ START PVK TEXT ]

Have you ever stirred in your sleep as a melody came to you as
from nowhere and bid to awaken to write it down or at least
remember it in the awakened state? This happened to Brahms, out of
which his 4th Symphony unfurled. 

-------------------------------


ILLUSTRATION 1:
Theme from Brahms, 4th Symphony

Score a bit blurred.
G Cleff, 1 sharp ( ie Key of F ), Cut Time
4 bars              

/ r B G / r E +C / r A F# / r D#? +B /  

Note (sa):  As I recall, it's a D-natural, not a D-sharp.
                               

------------------------------------                

[RESUME PVK TEXT ]

It was only after having resolved his frustrations and found a way
of joy while accepting the constraint of the situation that Brahms
was able to give expression to the joy of love. But compare with
Tomaso Albinoni's uninhibited sentimentality, heartwarming but
rather facile and unsophisticated, in his Adagio in Sol Minore.

----------------------------------------------------

ILLUSTRATION 2:
Albinoi, Adagio, Sol Minore

[ N.B.  PVK uses the European names for the notes -- so Sol Minore
is F_minor  ]

G_cleff, 2_flats (F_minor) -- 3/4 time 
Quite slow -- maybe MM 30 

( I don't have a metrononea any more, so all I can do is glance at
my wristwatch ) 

[ Toenote (sa) kit015_2 ]


/ D ( c&(b-)) (a&(g)) / G2 F# / +E- (d&(c) (b-&(a)) /  A2 G /
                                         
Or last bar ( A& (b-a) G / -- sa

------------------------------------------------------------------

[ PVK TEXT RESUMES ]
                   

Have you ever felt frivolously trifling, nonchalant and carefree?
Mozart translated this mood into the dancing notes of a famous
tune.

--------------------------------------------------------------

ILLUSTRATION 3:

This is that bird_like soprano -- aria, or whateer you call it --
near the start of 'The Magic Flute'

Score is not clear -- 
G-Cleff , 1 sharp, scored as Common time (4/4) but feels more like
cut_time -- Allegretto one might say - in Cut time it would be ca.
MM=60 or faster -- it is sprigthly but not rushed -- 

Scored as 4/4 it reads --            


/ (r a d f# ) / + A A A A ) / C#--C# *D D_grupetto / G G F# f# / 

/ E R (r a +d #d /              

---------------------------------------------------

[ PVK RESUMES ]

Let's try it out ourselves: drop your reserve for a moment, give
your responsibility a break for a while and just let yourself in
for a burst of the joviality that you have been holding back - let
it take over.


Have you ever felt facetious, flippant, pert, dallying with a
burlesque edge, probably as a reaction to people taking themselves
too seriously, or against heavy sanctimoniousness? Dimitri
Shostakowitsch reacted to totalitarian stiffness and stuffy
formalism in his symphony #9.

-------------------------------------------------------------

ILLUSTRATION 4:

Shostakovitch, Symphony 9 -- 
Score not clear
G-Cleff, 3 flats, Common time 

I don't know if I recognize this theme.
It's hard to do alphabet transcription if you don't.
I'll dash off what I can, and maybe others with a basic musical
education can fix it up.

[ Footnote kit015_3 (sa) ]                                        

/ B- G E- +fg / +ag(fe-) D *C / XC& d E-F&? / G-_trill F r? E-/
/GN +B- +E dc / (bNCdeN) *F& +g / +A ga bb / +C 

-----------------------------------------------------------------

[ PVK TEXT RESUMES ]

Have you ever just thought of a melody, quite spontaneously to
give expression to a bout of energy? Beethoven did this in the
first beats of his 5th Symphony, giving vent to the emotions
roused in him by his admiration for the verve and heroism of
Napoleon in his younger unspoilt days. 

-------------------------------------------------------------

ILLUSTRATION 5

Beethoven, opening of the lst movement of the 5th Symphony
The famous "My Dog has Fleas" theme

[ Footnote kit015 (sa) -- Beethoven 5 ]
                         
Score unclear
G-cleff, Cut time (2/2), at least one flat 

/ (r  ggg )    / E-_hold / (r fff) / D2__/__D2 / R2 / R2 / 
/ (r +e-e-e-) /  XC2__/__C  R / ( +fff )

Well, this ain't quite the opening bars, but what does it matter.

-------------------------------------------------------------r 

[ PVK TEXT RESUMES ]

Notice the scanned, crisp rhythm here, expressing venture,
aggressivity in comparison with the sweet, alluring rhythm of the
first quotation, expressing the delight of love?

We all know how easily we yield to the forceful impact of the
environment, both physical and psychic by reacting rather than
acting upon the environment by dint of our self-motivation. A
lesson in dealing with life's situations can be given in the
language of music. In the slow movement of his fourth piano
concerto, Beethoven teaches us to call a buffer between that
impact and our emotional attunement. This he does by refusing to
play ball, and calling a zone of silence, turning within in the
stillness of an inverted space where all creativity emerges; thus
setting his own pace upon the environment. The impact of the
environment is reduced to functioning as a catalyst, triggering
off our pent up potentialities.
           
-------------------------------------------------------------

ILLUSTRATION 6, 
Beethoven, theme from the 2nd movement of the 4th piano concerto -
- I guess this is the orchestral intrductin, and that the piano
theme is given in the next illustration -- so in this
illustration, the opening chord is not important, since Beethoven
immediately contradicts the orchestral introduction -- 

Score has 4 staves, but the 2nd_from_the_top seems to duplicate
the top.  So ok, that theme is more than its melody, the harmony
gives it much of the poignancy which PVK so often notes.

A bit hard to read.
That difficulty most likely begins with the original.
[ toenote kit015_sasparilla ]

Cleffs are not visible.
bottom cleff is surely base cleff.
1 sharp.                        
Marked 'Adante con moto'

The first chord, top to bottom,  seems to be g F , and the top
tunnel on the bass_cleff -- that's the F_cleff if I recall, so if
my eyeglasses ain't too foggy, I guess it's a G.  

[ toenote kit015_sassafress]

So I'll try just to sketch the top line.

/ e r ((g& (g))) / (e XB ((cbcc)) ) / C (r) (+c&(b) / 
/((agf+a)) (a XC / B R /

----------------------------------------------------------------

[ PVK TEXT RESUMES ]

Obviously Beethoven is depicting himself as the pianist and the
world as the orchestra. Notice the contrast between the staccato
of the orchestra with the poised legato of the piano.

[ Footnote (sa) kit015__Beethoven4th ]

------------------------------------------------------------- 
                                                        

ILLUSTRATION 7 -- 
Piano theme from the 2nd movement of the 4th piano concerto of
Beethoven:

This is 2 staves, apparently treble cleff and bass clef, score not
easy to read, and only 4 bars --- 

[ Toenote (sa) kit015__CreamSoda ]

Marked solo, andante cantiable,                     
Neither cleff signs nor key signature evident 
Clearly 2/4
                  
First chord looks like B__F__XD# in the treble cleff, and then
D#__B__F -- this is reading top to bottom -- I won't try to figure
out the bass clef -- 

Melody line (top line of the upper cleff) reads:  
           
/ B D# / +E&  dN / C__c ((c)) / A +b&((a)) / ((agfg)) a&((f)) /
/ E +g&((f)) /

------------------------------------------------------------------

[ PVK TEXT RESUMES ]

Supposing you drift into a mystical mood, you will find yourself
shifting your improvisations from the major mode to the minor: and
if you continue thus turning more and more within, you will
fluctuate even further from the minor mode, exploring subtle
nuances of emotion. This is what the Indian musician is doing,
exploring unchartered areas of  tone and rhythm as he/she
improvises.

--------------------------------------------------------------
                                                             

ILLUSTRATION 8A:

An Indian theme, not further identified:
G cleff, 3/4 time
There seems to be a natural sign on the bottom F_line

         
/ ... B / CN e F g / B a# GN f / E f G f / (5: efgfd) d# CN d /
/ D Xb +D e / 

-------------------------------------------------------------

[ PVK TEXT RESUMES:]

Note the departure from the minor mode. Note the effort to reach
the dominant note by a process of escalation.  

----------------------------------------------------------------
                
ILLUSTRATION 8B:

Evidently a continuation of Illustration 8A
same cleff, time, and apparent key_signature

/ F g +B c / +E Xd# XCN Xb / (ba#+b+c) (5: XbXa#XgXfXd) /
/Xd#XcN+dXCXXb / +C +e +F&__/__F2 / 

-------------------------------------------------------------

[PVK TEXT RESUMES:]

Stravinski ventured upon a novel mode in the Symphony of Psalms.
Have you ever felt dreary, drab, low-key   -   ever tasted of the
blues? Have you ever found yourself wrapped in a mysterious
melancholy   -   a nebulous gray mood, like a lake in the mist
concealing the unknown, the non-determined? Get it off your chest
by burning off the mist so that it may rise as a curtain upon the
dawning of a diaphanous light.

----------------------------------------------------------------

ILLUSTRATION 9 
Stravinsky, Symphony of Psalms
2 bars only
3 staves
No evident cleffs nor key 
I suppose stave 2 is that middle cleff they use for cello's
and that steve 3 is bass cleff
Time is apparently 1/4
but I will notate(!) it as 4/16  

[ Tonenote kit015__I9 ] 

/ r F G G# / B- C D E- /

Stave 2 has only a note in the top corridor on beat 3 
that is, this doubles the G in stave 1
                              

Stave 3 has 2 lines
I'll notate it as if it were a treble cleff, and anyone who knows
music can transpose that
the last two notes of the top line jump up to stave 2
I'll also pretend that stave 2 is a treble cleff

So the top line is:

/ r Pseudo: High_D E#? F / 
/ G_flat A JUMP to Stave 2 "Pseudo_pseudo: low_D E_flat= /
and the bottom line of Stave 3 (the bottom stave ) is only:
/Pseudo: low_ (g Xf3) C T /     

[ Tonnote kit015_I9 ] 

----------------------------------------------------------------

[ PVK TEXT RESUMES:]


Can you improvise two tunes related to these two moods, operating
the transit from melancholy to nostalgia; and then a third opening
up into the brightest of suns on a clear sky?

Claude Debussy portrayed the malaise and ambiguity of his time in
a way that speaks of the soul-searching in each of us, exploring
the unknown, in the Cathedrale Engloutie (the sunken cathedral.)
Note the wealth of pastel intonations.
                    
----------------------------------------------------------------

ILLUSTRATION 10:

Debussy.
'Cathedrale Engloutie', a piece I had not heard of

This is 2 staves, cleffs not marked, a passage of of 3 bars
bar 1 is apparently 5 beats, bar 2 is 6 beats, bar 3 apparaently 6

the top stave is 3 lines, changing to 2 lines on the last beat of
bar 1
Stave 2, the bottom stave, is 2 lines, changing to 1 line, than
back to 2 on the last note of bar 3

Here I will try to notate the F_cleff as such
Here I am notating chords, not lines
                     
Top stave, top line:
First chord, both staves:
top to bottom:
D G D bass cleff: F C
E A E G D 
B E F C A
B A D Lower cleff becomes G cleff: F D 
D E E__/__D E E hold for a total of 3 beats then 2 more beats /
Then 2 more beats then 2 more then A# C# XC#

So the top line reads, in sequence:

D E B +D +E__/__E E__E E2__/E E2 G#

Mazaltov.
                                    
______________________________________________________________

[ PVK TEXT RESUMES: ]
The next step he made in Claire de Lune; here he is describing
something like clearings in the woods in the moonlight.

ILLUSTRATION 11:
Debussy, the Famous Duck_on_a_Mud_Puddle them from Claire de Lune:

G cleff, 5 flats (B E A D G ) , 9/8 time, Andane tres expressif, 
This score is clearly written
I will note only the top line
I will notate it as if it were 9/4 , so a , not A , is an eigth
note



/ R r  A  !+a__A& XF&__/__f Xe +f C3__/c Xd +e (2: Xd f__)(2:__fd/
/__d Xc d C3__/__c XbC  (b +g Xc ) (Xa +b Xa__/__a Xg +a G E

"or something", as Agnieska used to say 

I won't check this now, everyone knows the tune 

Well, somebody might re_check it, there seem to be a lot of
naturals where the key_signature calls for flats 

I mean, I'd just score the tune:

R ( r aN ) +aN__AN& F&__/__f e f  E3__/__e d e (2:d f__)(2_fd)
/__d d- dN D-3__/__d-_  b d- b +e b- aN bN aN__/__aN g a  ...

oh, to heck with it, everybody knows that duck anyhow 

---------------------------------------------------------------

[ PVK TEXT RESUMES: ]

Reflecting his time, Debussy could never allow himself to come so
clearly in the sunshine as did Bach in an untold number of
compositions. A pertinent illustration of this advent of the
Divine presence upon the earth is to be found in the beginning of
Bach's Christmas Oratorio.

--------------------------------------------------------------

ILLUSTRATION 12:
Bach, Christmas Oratorio
6 bars, melody line only, G_cleff, 1 sharp and maybe 3/8 time, or
maybe 2 sharps and a fly_speck, the score ain't clear

The words is written in some kind of Deutsch with some kind of
English under it.
The latter reads:

shout ye ex / a blurp this / Day of Sal / va tion, / glory to /
G_d in the /

So ok, then the tune goes:  

/ f# f# f# / f# r ((ed ef# / g g g r / g ((f#e eg / a? cN?c_ r /
/cN b r /

                

----------------------------------------------------------------

[ PVK TEXT RESUMES: ]

Have you ever felt free or freed, unfettered, liberated,
unflappable, having shaken off a load, or having pulverized the
walls that were hemming you in, or cast aside the harness imposed
upon you by your friends? Like Bach describes in his Concertos for
Four Harpsichords.                                  

[ NO ILLUSTRATION]
                                
[ Footnote kit015__I12 ]
         
-----------------------------------------------------------------

[ PVK TEXT CONTINUES: ]

Now you are streaking across space eerily like a ripple of
unbounded energy. Sometimes the verve of the situation is
expressed by a sense of urgency. Hasten, hasten says the bass
voice in the following passage of St. John's Passion.

--------------------------------------------------------------

ILLUSTRATION 13:
Bach, St. John Passion, a bass solo or some such:

3 staves -- bass voice on top stave, in bass cleff, below it two
lines, one treble and one bass, indicating the orchestral
accompaniment.

I will try to notate only the bass voice, which is 5 bars         
                      
The words is in English, more or less.

/ haste / ? heydo heydo? ye / deeply / ? wounded / spirits ye /

Key signature is apparently 2 flats
[ Toenote kit015_I13]                    

The score is unclear.  Some of that can't be resolved by higher
magnification, it's muddy. 

So ok, I try to notate it reading bass cleff 

Oh shucks, now it looks to me like bass cleff is scored just the
same as treble cleff, only understood to be an octave lower -- and
I thought it was different -- 
So that means that my preceeding scorings of bass cleff are
correct only when I do it as_if it were treble cleff, not when I
attempt to 'notate' what I though were the bass_cleff notes -- 

[Toenote kit015_I13a ]  

Time signature seems to be 1.5 / 4 -- a bit unusual I suppose, but
it really does look like one_and_a_half beats per measure -- 

I mean, Shakespeare didn't know how to spell, so maybe all those
famous old ducks didn't write music like we do neither -  

/ g b- r / f a Xc__/__c Xb' Xa__/__a Xg Xg / g Xe +e__/            
                              
------------------------------------------------------------------

[ PVK TEXT CONTINUES ]

This sense of urgency is well known to us all -  is it not? A
further example of this mercurial verve is to be found in some of
the choruses of St. John's Passion.

The urgency with which Bach calls our attention to a cosmic event
on earth has attained probably its ultimate expression in the
beginning of Bach's St. John's Passion. 

[ Foonote (sa) kit015_I14 ]



---------------------------------------------------------------

ILLUSTRATION 14:

Bach, Passion according to St. John, opening:        

G-cleff, at least 2 flats I think, plus a few chicken_scratches
                  
4/4 , 5 bars quoted
melody line only

Words is: 
/ LORD LORD / LORD our Re-/-deem ...... / er /

Tune is:

/ R B-? R E R /  C& r XfN? fN? / 
/((gf2fa)) ((gfg+b)) ((agab-)) ((aga+c)) / 
/((b-ab-c)) ((b-ab-+d)) ((cb-c+d)) ((cb-c+e-)) / Xd g C? /

---------------------------------------------------------------

[ PVK TEXT RESUMES: ]

Note the sharpness of the notes intonated by the choir while the
orchestra builds up into crescendo waves.

In contrast to this annunciation, we have an apotheosis in Bach's
Magnificat's Gloria Patri. If you play this sequence, you will
find that one apotheosis builds up into a further apotheosis, and
so on until the final resolution.

----------------------------------------------------------------

ILLUSTRATION 15:
Bach Magnificat, Gloria Patria
2 bars, 4 voices
Largo, MM too muddy to read
ff
4/4
key signature not shown

Words:  
/ Gloria / Patri r et /

4 staves, reading top to bottom
              
/ R high_F f& f /  E    E  R +E /
/ R      A a& a /  B    B  R  A /
/ R      F f& f / +G#   G# R  E /
/ R      B b& b /  B    B  R  A /

---------------------------------------------------------------

[ PVK TEXT RESUMES: ]

Now apply all your verve to improvise melody to express your
rapture. You ask, "How do I even start improvising?" If other
composers did so, so can you. Their know-how may have been
learned, elaborate, even tremendous, but their inspiration emerged
irrespective of their know-how  -  just an impulse to express the
emotion felt at the time, first in rhythm then in tone.

Notice the repetitiveness of the rhythms in every case quoted
here! Just start by expressing your emotion as a rhythm. Once the
rhythm has set in, there may be fluctuations in the rhythm. The
melody seems to emerge from the rhythm - check it out.  You will
find that: lo and behold, you can compose!

Could you this time give expression to not just unbridled joy
which remains confined to the person, but cosmic glorification.
Have you ever felt moved to the foundations of your being by an
impelling urge to express glorification faced with the sudden
realization of the splendor behind all of this we call the
universe? J.S. Bach expressed this in, amongst untold examples,
the Hosanna of his B-minor Mass.               

----------------------------------------------------------------

ILLUSTRATION 16:
Bach, B-Minor Mass, Hosanna

G-cleff, 2 sharps,  3/8 time 

so I notate it as 1.5 / 8

/ d / a a a / +d Xa r /  

----------------------------------------------------------------

[ PVK TEXT RESUMES: ]


Notice the break-through of energy affirming the certainty gained
by faith by dint of repetition, while rising undauntedly like the
arches of a cathedral.

How different from Stravinski's plaintive alleluia in his Symphony
of Psalms!

---------------------------------------------------------------

ILLUSTRATION 17:

Stravinsky, Symphony of Psalms, Alleluia

G-cleff, Tempo quarter note = 48, 3 flats, 4/4 time

3 bars only

/ R4 / R2  c c / D E2 R /

the four notes have the text , Al-le-lu-ia
there is a crescendo starting from piano on the first 3 notes,
then a diminuendo on the final E2

--------------------------------------------------------------


It is difficult for the modern denizen of our Planet to nurture
the effervescent optimism which sparkled the spirit of the early
Church, releasing the emotion of fervor unrestrainedly.

Have you ever been daunted by the struggle for meaningfulness in
our day and age against soul-killing realism or even the
metaphysical anxiety upon sardonic reflections on where we are
heading - where it will all lead to if we continue on this tack?
Prokofieff's ponderous soul, searching on the edge of war and
peace in the Peregrinus of his Alexander Nevski, reflects these
misgivings we are all feeling. 

-----------------------------------------------------------

ILLUSTRATION 18: 
Prokofieff, Alexander Nevsky, Pereginus

This is illustrated by 3 bars of 22 staves, the choral entire
orchestral score I suppose, with no indicated of cleffs, key,
tempo, nor instruments

it comes through in very small, rather muddied characters

one cluster of 5 staves is apparently the choral parts
4/4 time I would say
the words are noted, but I don't think I can read them, and I
doubt they're readable 

I'll make a stab at the tune in that choral cluster of the 3rd
line from the top:

/ gc d +fe / E E F de / r E E ef /

---------------------------------------------------------------

[ PVK TEXT RESUMES: ]

Have you ever overcome a foible or an addiction or freed yourself
from a debt? Have you noticed how as a result one could pace with
poise and majesty and with an air of sovereignty and
determination?  Bach expresses this masterly pace in the
Passacaglia for organ.                              

------------------------------------------------------------------

ILLUSTRATION 19:
Bach, Passacaglia for Organ

This is an excerpt of about 19 bars, in 3 staves

the middle stave is marked Organ

the top and bottom staves are also marked, but I can't read them,
it's too small and muddied  


The top stave is G_cleff, 
The middle stave becomes G_cleff at bar 8
Staves 1 and 2 rest until bar 8

but I can't make out the other two.
I suppose this is 3/4
I guess the bottom stave is the organ pedals

I'll make a stab at the middle stave, starting from bar 8
I guess that is the melody and I guess it is that old favorite

de / E& ((dcb)) A& / 
or some such.

Well, here goes with a fast sketch of it:
middle stave only

8 bars rest / R R r e / d Xa__A r g / feg r XAN / XGN +C re__/
/g e r d__/__dc C R d / C C B / D D B / CXG_G r +e / 
/g D D r d__/dc _c r XA /

well, that's a very rough sketch, and I could do a bit better by
putting the 2.5 reading glasses that I used in front of my usual
1.5 's -- Eliayhu Gal_Or of Mevo Modi'in taught me that -- but
anyone working with computers must not push to the point of even
temporary eye_strain -- 

-----------------------------------------------------------------

[ PVK TEXT RESUMES: ]

The pace is manifested by a continuous advance scanned by a
syncopated rhythm, indicating the alternation between the left
foot and the right foot.

"The purpose of life is like the horizon, one thinks one can see
it, but as one advances a further landscape has become one's
horizon."  (Hazrat Inayat Khan paraphrased by Pir Vilayat.)

If you cannot read music, you may buy the tapes or records of
these excerpts which will help you understand my commentaries; or
ask somebody who can read music to sing the melodies to you. The
excerpts are, unfortunately, very short.

[ END PVK KIT 15 ]

================================================================

[ I (sa) APPEND NOTES ON MY SYSTEM OF ALPHABETIC MUSICAL NOTATION]

[ MY (sa) FOOTNOTES & TONENOTES ARE DEEP_6'd TO =kitsa15*.txt,
which will be posted to my Yahoo Briefcase sa73122c &/or Website
on www.geocities.com/sa73122c


==================================================================

sa, Campra, 20 Nov '05 - 18 CheShvaN -- don't yet know Islamic
date -- Cristo Re in the Catholic calendar -- 

It was a cold windy night, can't step out the door to pee without
a ballast rope and an ice_ax, but now it's almost daybreak, and
the hot chocolate with a hit of filter coffee and a few of those
devil mints they sell only in Andermatt, is almost ready -- time
to put away the Shabat table and go outside, not that one has to,
to do a quickie Shaharit -- iz'd noz s bad life here, and I am
greatful to the Vanzetti's for giving me the opportunity to live
and do this work here -- 

=================================================================

APPENDIX (sa):  MY SYSTEM OF ALPHABETIC MUSICAL NOTATION:

Notes on notation, Illustration 1:
r = Rest 
lower_case usually means -- half a beat
upper case usually means -- 1 full beet
A2 -- means -- an A held for 2 beats
(ab) means -- two half_beat__notes (in 4/4 time, that would be 2
8th_notes)

(abcd) means -- two quarter_beat__notes (in 4/4 time, that would
be, 4 16th notes)

# neans -- sharp.
I will try to write in the sharp_signs, even when they are
understood from the key signature

N means -- natural
(I will use N only when it is an exception to the key_signature)

For more illustrated details of my alphabetic notation, see my
notation R Shlomo Carlebach songs on my First website, 
www.geocities.com/sa73122a        
I think the file is docname =shmusic.zip
                     
+ means -- go up to this note, from the preceeding note
So in general, if you don't see a plus, you go down
But I don't always use a plus, if it's reasonably clear that one
goes up, not down 

I suppose I will use a    -    for 'flat' 
Though that ain't optimal

/ means -- bar sign -- ie start and/or stop of a measure

& means -- add a half_beat to the preceeding beat
so in 3/4 time, d& is a dotted 8th_not
and (b) means -- half the beat it would have without the
parentheses 
so , again in the next illustration, (b-) is a b_flat 16th_note
Thus d&(b-) is a D, dotted 8th_note, conjoined with a b_flat
16th_note, to make one beat 
Usually I cnclose such pairs in parentheses, thus_
( d&(b-) ) 
though often without a space before and after       

X means, go down from the preceeding note.
Usually I let that be assumed, but sometimes I note it.

Sometimes I surround a singe beat with parenthese, eg in 4/4 or
2/4 time (ab) would be a run to 2 8th_notes, and ((abcd)) would be
a run of 4 16th_notes

r is Rest for a half_beat, R is rest for a whole beat

It's my impression that some of those classic dudes whose socres
are quoted quoted in this KIT -- try to say that fast, I dare you
-- I mean like, think of these notes as a free introductory sample
class in like, advanced English -- didn't write music all that
good.  I mean, not up to modern standards.  They seem to make
mistakes or take shortcuts in notation.

a__/__a of course means, the note is tied over to the next bar 

despite the tempo, Common time or cut time, I usually notate as if
it were a quarter note that gets one beat, so A is a qurater note
A, and a is an eighth_note a 


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