Relevant bibliographies by topics / Chord Keyboard

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Chord Keyboard'

Author: Grafiati
Published: 9 October 2021
Last updated: 18 July 2025

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Journal articles on the topic "Chord Keyboard"

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Richardson, Rose Mae M., Ronald U. Telson, Christopher G. Koch, and Susan T. Chrysler. "Evaluation of Conventional, Serial, and Chord Keyboard Options for Mail Encoding." Proceedings of the Human Factors Society Annual Meeting 31, no. 8 (1987): 911–15. http://dx.doi.org/10.1177/154193128703100814.

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The motivation for the experiment was the integration of a work station display component and a suitable data entry device. Keying performance with three candi- date keyboards was evaluated: (1) a one-handed conventional calculator keyboard, (2) a two-handed 10-key serial keyboard, and (3) a two-handed 10-key chord keyboard. Subjects were trained to criteria on a numerical data entry task and subsequently tested for performance in encoding five-digit strings. Measures of encoding response time and encoding errors showed a substantial advantage in training time for the calculator keyboard and t
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Raij, David, Daniel Gopher, and Ruth Kimchi. "Perceptual and Motor Determinants of Efficient Data Entry." Proceedings of the Human Factors Society Annual Meeting 31, no. 7 (1987): 820–24. http://dx.doi.org/10.1177/154193128703100730.

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Two scales were constructed to separately evaluate the perceptual and motor difficulty of the finger chords employed to enter letters in a newly designed chord keyboard, developed to provide an efficient alternative to the existing QWERTY keyboard. The index of motor difficulty evaluated the biomechanical problems associated with the execution of the 31 possible chord combinations of five-fingers. The perceptual index scaled the difficulty of identifying the spatial pattern created by each of the 31 chords. A regression equation that was based on the two indexes accounted for about 60% of the
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Kroemer, Karl H. E., Fadl A. Fathallah, and Lawrence W. Langley. "A New Keyboard with Chorded Ternary Keys." Proceedings of the Human Factors Society Annual Meeting 32, no. 11 (1988): 724–26. http://dx.doi.org/10.1518/107118188786762388.

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A new keyboard has been used in preliminary tests. Each key has 3 state conditions (“ternary key”) and is moved by horizontal displacement of the fingertip, usually together with another key (in “chords”). Little is known about the usability of such a Ternary Chord Keyboard (TCK) from previous experiments. Pilot tests indicated fast performance with a TCK.
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Anderson, Allison M., Gary A. Mirka, and Sharon M. B. Joines. "Learning rate Analysis of Alternative Keyboards." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 51, no. 15 (2007): 874–78. http://dx.doi.org/10.1177/154193120705101502.

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Although alternative keyboards offer ergonomic benefits over the standard keyboard, the standard QWERTY keyboard is still the most widely used. This study was performed to quantify learning rate percentages for four alternative keyboards (chord, contoured split, Dvorak, and fixed split) and understand how physical, cognitive, and perceptual demands affect learning rate by quantifying these measures. Sixteen proficient typists participated in five, three-sentence typing trials on each alternative keyboard, and nine additional subjects participated in 20 typing trials on one alternative keyboard
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Simatupang, Jaka Pranata. "TEKNIK PERMAINAN IMPROVISASI KEYBOARD PADA LAGU KIDUNG JEMAAT NO. 375 “SAYA MAU IKUT YESUS” DI GEREJA HKI HUTAGURGUR." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 18, no. 1 (2020): 39–47. http://dx.doi.org/10.46965/ja.v18i1.103.

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The purpose of this research is to add insight into the playing of keyboard instruments and what techniques can be used in playing the keyboard one of them improvised music playing techniques by playing music in whorship in the Church. The benefits of the research to explain the technique of improvised keyboard music playing in the accompaniment of processional worship at the HKI Curch Hutagurgur. Applied to this improvisation technique using the song of the Curch numbre 375 “I Want To Follow Jesus” during the procession worship at the HKI Curch Hutagurgur. The study uses qualitative research
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Cannon, Lawrence O., and Joe Elich. "Some Pleasures and Perils of Iteration." Mathematics Teacher 86, no. 3 (1993): 233–39. http://dx.doi.org/10.5951/mt.86.3.0233.

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In “A Lost Chord,” the author discovered a marvelous musical chord by accident while letting her fingers wander over the organ keyboard. The chord brought such peace to her soul that it pronlised solutions to all earthly problems. Unfortunately, she was never able to recreate the lost chord, despite years of searching, and the poem ends with the hope that perhaps in the eternities she may be able to discover and hear the chord again.
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Kreifeldt, J. G., S. L. Levine, and C. Iyengar. "Reduced Keyboard Designs Using Disambiguation." Proceedings of the Human Factors Society Annual Meeting 33, no. 6 (1989): 441–44. http://dx.doi.org/10.1518/107118189786759642.

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There are a number of important applications where the accuracy of typed copy is less important than other criteria, such as the speed of entry, ease of learning, reduced keyboard size, provision for innovative keyboard designs and work methods, etc. Some of these applications include communication devices for the motor handicapped and rough drafting. The applications in question still provide single finger typing as opposed to multifinger entries for chord keyboards. One approach to keyboard design for such applications involves using a multicharacter key set. Because there is more than one c
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McMulkin, Mark L., and Karl H. E. Kroemer. "Usability of a one-hand ternary chord keyboard." Applied Ergonomics 25, no. 3 (1994): 177–81. http://dx.doi.org/10.1016/0003-6870(94)90016-7.

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Kroemer, K. H. E. "Use and Research Issues of a New Computer Keyboard." Proceedings of the Human Factors Society Annual Meeting 36, no. 4 (1992): 272–75. http://dx.doi.org/10.1177/154193129203600402.

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For use with computers, the traditional QWERTY keyboard has been enlarged to more than 100 keys. This has generated postural and motoric challenges for the user, including cumulative trauma disorders. Among the proposed ergonomic solutions is the Ternary Chord Keyboard (TCK) which has only eight keys. Its evaluation posed use and research issues. TCK operation requires fast and finely controlled force and displacement by the fingertips in a horizontal plane, i.e., “rocking” of keys instead of their familiar “tapping”. Associated mental tasks include memorization of the chords for each characte
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Bowman, Doug A., Christopher J. Rhoton, and Marcio S. Pinho. "Text Input Techniques for Immersive Virtual Environments: An Empirical Comparison." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, no. 26 (2002): 2154–58. http://dx.doi.org/10.1177/154193120204602611.

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Symbolic input, including text and numeric input, can be an important user task in applications of virtual environments (VEs). However, very little research has been performed to support this task in immersive VEs. This paper presents the results of an empirical evaluation of four text input techniques for immersive VEs. The techniques include the Pinch Keyboard (a typing emulation technique using pinch gloves), a one-hand chord keyboard, a soft keyboard using a pen & tablet, and speech. The experiment measured both task performance and usability characteristics of the four techniques. Res
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Dissertations / Theses on the topic "Chord Keyboard"

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Weller, Jacqueline. "Dynamic One Hand Chord Keyboard." Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-454685.

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Portable, handheld, and wearable devices are an integrate part of everyday life, yet there is no well-established text inputmethod for devices with very small screens. Speech to text has been a quick fix, but entails privacy concerns and can beobtrusive. Chord keyboards bring various advantages for application in a mobile environment, as they require fewer keys andcan thus be small and portable. The aim of this work is to suggest an alternative to the QWERTY keyboard, suitable for textentry on devices of all sizes, shapes and mobility requirements. A one hand operational chord keyboard was dev
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Fathallah, Fadi A. "An experimental comparison of a ternary chord keyboard with the QWERTY keyboard." Thesis, Virginia Tech, 1988. http://hdl.handle.net/10919/43591.

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Chord keyboards use the concept of simultaneous activation of keys to produce single characters. Some chord keyboards have been suggested as potential devices to replace the standard QWERTY keyboard which is now considered the major human-computer interface tool. This study focused on evaluating a new chord keyboard that uses a set of eight ternary (3 state) keys. An experimental comparison of the ternary chord keyboard (TCK) with the QWERTY keyboard was conducted. Two groups of subjects were selected to participate in the study. One group was assigned to the QWERTY keyboard and the other to
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Callaghan, Thomas F. "The utility of a technique for testing the difference in ease of chords on the Ternary Chord Keyboard." Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/53207.

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In a pilot study, response times of 64 possible chords on the Ternary Chord Keyboard (TCK) were compared in order to establish a basis for assigning characters to chords. It was found that subjects had faster response times for some chords than others. Upon close inspection of the experimental procedure, it appeared that the way in which the chords were cued caused part of the differences in response time, which had been expected to depend only on chord motor differences. The present study was designed to examine the hypotheses that chord cueing caused part of the differences in chord respon
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Verwaerde, Clotilde. "La pratique de l'accompagnement en France (1750-1800) : de la basse continue improvisée à l'écriture pour clavier dans la sonate avec violon." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040086/document.

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Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième par
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Reis, Fernando César Cunha Vilela dos. "O idiomático de Francisco Mignone nas 12 valsas de esquina e 12 valsas-choro." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19112010-114323/.

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Este trabalho tem como objetivo principal descobrir e revelar como Francisco Mignone compôs as 12 Valsas de Esquina e as 12 Valsas-Choro para piano solo, contribuindo para o estudo e a divulgação da música brasileira. Através da análise realizada nesta tese, revelou-se o idiomático de Mignone referente a essas obras. Além disso, investigaram-se os dados biográficos desse compositor, o gênero valsa e a contextualização da época em que as peças foram compostas. Como acréscimo, foi elaborado um guia interpretativo baseado na análise dessas Valsas e realizada uma entrevista com a pianista e viúva
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Li-Yi, Chen, and 陳立儀. "The Design Research of Chinese Chord-Mode Keyboard." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/96973730178654820333.

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碩士<br>大同工學院<br>工業設計研究所<br>86<br>The lack of ergonomic consideration in QWERTY keyboard designing contributed many operating problems which caused harm to health. In accompany with the increase in the use of computer, the harm caused by the improper operating posture has also been increased. In addition, all of the current Chinese input method is develop on the base of the structure of QWERTY keyboard which has embedded problems. One of the solutions in keyboard research in the resent year is the chord keyboard of which the number of thThe principles of chord keyboard and of modifier key wer
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Wang, Ying-Lan, and 王映嵐. "A Study and Design of Ergonomic Chord Keyboard-Mouse." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/41500372704716786132.

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碩士<br>大同大學<br>工業設計學系(所)<br>95<br>In the information era, the use of the computer has become extensive than ever. Input devices used by the general public are QWERTY keyboard and mouse. The fact that these 2 devices are separated results in ergonomic, operational and portability issues. It has been proven locally and internationally that the chord keyboard can effectively solve ergonomic issues while its input efficiency is not inferior to that of the QWERTY keyboard. None, however, has incorporated the design of the mouse. The ergonomic chord keyboard-mouse of this study integrates the strengt
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Liu, I.-Fan, and 劉一凡. "The Design of Combined Tablet PC and Chord Keyboard." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/62445446281450063376.

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碩士<br>國立成功大學<br>工業設計學系碩博士班<br>93<br>The mobile technological products have already become a part of people's life now. Among them Tablet PC is the products coming out in development in recent years. There is handwritten board function which general notebook computers do not have. But be equivalent to a weight the products of the notebook computer. Quite on hand take and hold strenuously and can't last. Reduce the quantity of parts and size of Tablet PC. Can reduce users and take the burden while holding. So design the exterior of Tablet PC slating to reduce a lot of weight. Adopt the chord key
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Hsieh, Yu-Chen, and 謝育錚. "The design research of the Chinese input with chord keyboard." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/88211383495937452678.

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Chen, Fu-Ming, and 陳富明. "The Design Study of Ergonomic Chord Keyboard with Hans Spelling." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/21707322541382774740.

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碩士<br>大同大學<br>工業設計研究所<br>90<br>Abstract Keyboard is the important common input device accompanying with computers. However, many researches have proved that the traditional QWERTY keyboard not only affects work performance but also caused damages on users’ hands, wrists, and shoulders. That is the reason why many alternative keyboards have been developed. In recent years, the concept and validity of Chord Keyboard have been adopted and verified by many researches. The aim of this research is to design an ergonomic chord keyboard with Han spelling input. Four main experime
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Books on the topic "Chord Keyboard"

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Gibbons, Al. The keyboard bible: Chord system made understandable. A. Gibbons, 1986.

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Felipe, Orozco, ed. Complete keyboard chords: The definitive full-color picture guide to playing keyboard chords. Amsco Publications, 2008.

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Vogler, Leonard. The encyclopedia of picture chords for guitar & keyboard. Amsco Publications, 1998.

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Johnson, D. Maurice. More insight: Understanding chord structures and progressions. Knowledge Publications, 1991.

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Polston, Larry G. Chording arpeggios: Piano course : book and cassette : Southern gospel at its best : introductions, fills, rhythms, chord charts-major & minor, how to use diminished & augmented chords. Rain Tree, 1990.

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Cotter, Geraldine. Geraldine Cotter's Seinn an piano: Playing the piano Irish style. Ossian Publications, 1996.

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Keyboard Chord Chart. Alfred Publishing Company, 1999.

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(EDT), Alfred Publishing. Keyboard Chord Dictionary. Alfred Publishing Company, 1987.

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Keyboard Chord Dictionary. Warner Bros Pubns, 2000.

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Hal Leonard Publishing Corporation (COR). Ultimate Keyboard Chord Book. Hal Leonard Corporation, 1996.

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Book chapters on the topic "Chord Keyboard"

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van Noorden, Leon P. A. S. "A Provisional Evaluation of a New Chord Keyboard, the Velotype." In Human-Computer Interaction. Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-73402-1_20.

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Sandnes, Frode Eika, and Evelyn Eika. "Enhanced Learning of Jazz Chords with a Projector Based Piano Keyboard Augmentation." In Lecture Notes in Computer Science. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-35343-8_21.

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Manzo, V. J. "Building Stand-alone Applications." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0016.

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In this chapter, we will analyze a “Chord Namer” application that allows a user to enter a chord name and see the notes on a MIDI keyboard. Unlike the other patches we’ve worked on thus far, we will “build” this patch as a stand-alone program that can be used on any computer even if it does not have Max installed. Stand-alone programs are a great way of distributing your work to people for educational or commercial purposes. Open the file chord_namer.maxpat from the Chapter 11 Examples folder. This patch allows users to type in the name of a chord (C, for example) and see the chord displayed on a large kslider. Users can then play the chord on their MIDI keyboard while looking at the visual example. The letter name of each note appears on each chord tone when it is highlighted. For taller chords, a user may enable more chord tones to be added than simply just a root, third, and fifth. For example, a user wanting to play a Cdom7#9 chord could simply enable 7ths and 9ths to be displayed by checking the appropriate toggles, typing Cdom7#9 into the space provided, and pressing the return or enter key. 1. Type C into the text box at the top left and press the return or enter key 2. Play a C chord on your MIDI keyboard This patch could be useful for helping people perform a piece for which they have only a lead sheet with chord names. Let’s take a look inside the patch. The patch is currently in Presentation mode. Unlock the patch and put it into Patching mode. The patch is rather large in size so you may need to zoom out on the patch (⌘for Mac or ctrl for Windows ). Now that the patch is open, you may be surprised to see that there is only a small number of objects inside. Take note of the 3 bpatchers in the patch that generate chords, handle MIDI output, and, to the right, above the kslider, handle MIDI input.
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Manzo, V. J. "Informal Music Learning Instruments." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0024.

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In 2010, I was involved in a research project called the Interactive Music Technology Curriculum Project (Manzo &amp; Dammers, 2010), or IMTCP; its goal was to teach music composition and performance to students who have no musical training by using soft ware instruments that allow them to play chord functions. In this chapter, we will examine the patches developed for this project. As you will see, even though each patch facilitates a different musical activity, the patches themselves use similar chunks of code neatly organized in bpatchers. These patches allow students to play chords, at first, with the number keys (1–8) from a computer keyboard as they learn about diatonic scale degrees and chord functions. Students in this project were asked to go online and get the YouTube links to their 10 favorite songs. The faculty for this project took those songs and reduced each part of the form (verse, chorus, bridge, etc.) to a set of numerical chord functions within a key. For example, the verse would be referred to as a The project was influenced by the Manhattanville Music Curriculum Project (MMCP; Thomas, 1970) and Lucy Green’s research on Informal Music Learning (Green, 2008). “1 5 6 4” in C Major while the chorus was a “2 4 1 5.” Students would then use a patch to play back the chord functions using the ASCII keyboard. 1. Open the file E001.maxpat from within the folder E001 located in the Chapter 19 Examples folder 2. Press the number keys on your computer keyboard (1–8) to play back the C Major scale. Use the space bar to end the sustain 3. Click the toggles 3 and 5 to add a third and a fifth to the output. Notice that the name of the triad is now displayed on the right We’ve looked at patches similar to this in the EAMIR SDK. Let’s take a look at some of the more interesting and novel features of this patch.
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de Alcantara, Pedro. "Dialogue." In Creative Health for Pianists. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197600207.003.0002.

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Abstract “Dialogue” is built on a four-note chord shared between the left and right hands. The chord is musically ambiguous, giving the impression of being both major and minor, both consonant and dissonant, both happy-making and sad-making. Its voicing and fingering make the chord easy to play, allowing the pianist’s hands to adopt a healthy physical structure that feels stable and reassuring. After presenting the chord and discussing its merits, the chapter proposes a series of variations and tweaks so that the pianist can develop a sense of ownership over the chord and over the keyboard. There follows a sequence of more complex exercises, variations, and compositions, showing the pianist how to develop extremely simple materials into more substantial musical structures.
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"2. The Chord Keyset and the QWERTY Keyboard." In Bootstrapping. Stanford University Press, 2000. http://dx.doi.org/10.1515/9781503618367-005.

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Gjerdingen, Robert O. "The Indugio." In Music in the Galant Style. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313710.003.0020.

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Abstract court musicia ns in centra l europe wrote several major treatises during the 1750s and early 1760s. Those of Repel (1752, 1755, 1757, 1765) are still significant for their descriptions of compositional practice.1 The flute treatise of Quants (1752), the keyboard treatises of C. P. E. Bach (1753, 1762), and the violin treatise of Leopold Mozart (1756) are important for detailing performance practice.2 And the thoroughbass treatise of Johann Friedrich Daubed (1756) is valuable as a sign that gallant simplifications of musical syntax had begun to influence conceptions of the tonal system.3 Dauber’s General-Bass in dray Accordion [Thoroughbass in Three Chords] drew attention, as Rameau had earlier in France (1722), to the central roles of three distinct sonorities: a 6/5 chord above @ in the bass, a seventh chord above ®, and a simple triad above CD. Though Daube oversimplified galant practice for his readership of amateur musicians, as we saw in chapter 11, it is nevertheless true that one can produce a typical galant cadence using only these three sonorities:
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Pratt, George. "Closing the Circle." In The Dynamics of Harmony Principles & Practice. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198790204.003.0007.

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Abstract A complete circle of perfect fifths, based in turn on all 12 notes of the chromatic scale, reduces the concept of dominant relationships to absurdity, as you will see by reading and playing Ex. 7a: The addition of a passing minor seventh at each step increases the headlong plunge from one chord to the next: every one is both the tonic resolution of its preceding dominant seventh and, simultaneously, the dominant seventh of its succeeding tonic (Ex. 7b): Apart from its tedious predictability, this sequence is too long for the mind to retain much idea of a key-centre, of a point from which it departs and to which it returns. Play it fast and rhythmically enough, and you may discover a sense of repose as you return to the first chord. More slowly, however, it becomes a matter of indifference where the chain is broken: it could as easily go on to infinity, or fall off the lower end of your finite keyboard, as stop on any particular chord.
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Manzo, V. J. "Control Interfaces Continued." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0013.

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In this chapter, we will look at some innovative ways to control music making as we develop musical instruments. We will look at using your computer keyboard and mouse as performance instruments as well as discuss the use of videogame controllers in your patches. Designing your own custom musical instruments is a great way to tailor the controls to the specific physical abilities of users while allowing them to focus on certain specific musical concepts like pitches, scales, and harmony/chords. 1. Click on Extras&gt;EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the third item 3.EAMIR _ASCII_Keyboard_Control.maxpat Unlock the patch that opens and look at its basic structure. As you can see, the patch is really just 4 bpatcher objects, 3 of which refer to patches we’ve already looked at. The newest bpatcher, at the top of the patch, is basically just a patch with a key object, a select object, and some fancy graphics—all things you learned to use in Chapter 3. Lock the patch and 3. Type your full name using your computer keyboard. Note that uppercase letters and lowercase letters trigger different buttons 4. Press the number keys 1–8 as these are mapped to message boxes containing numbers used as diatonic chord functions Without the top bpatcher, your patch generates chords in any key simply by clicking the message boxes. The top bpatcher is just a control interface that maps something (keys) to something else (message boxes). 5. Ctrl+click (Mac) or right click (Windows) the top bpatcher and select Object&gt;Open Original “EAMIR_keyboard.maxpat” from the contextual menu This patch is set to open in Presentation mode. Unlock the patch and put it in Patching view. The contents of the patch are as I described: a key object, as well as a keyup object, are connected to two gigantic sel (select) objects containing the ASCII numbers for all the available characters on the computer keyboard nothing you couldn’t already do. In fact, the most impressive part of this patch, in my opinion, is the graphical part of it.
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Manzo, V. J. "Math and Music." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0008.

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In this chapter, we will discuss some of the math used in musical operations. If you just cringed when I said the m word, have no fear. We’ll be looking at the math behind musical things you already know how to do like transposing music by some interval and adding chord tones to a root note. We will also look at some of the things that will help make your program look better and more accessible to users. By the end of this chapter, you will have made a program that harmonizes MIDI notes. Let’s build a MIDI synthesizer. You remember how to do this. Create a new patch and 1. Create a new object called notein 2. Create 2 number boxes 3. Connect the first 2 outlets of notein to both number boxes 4. Create a new object called noteout 5. Connect the first outlet of each number box to the first 2 inlets of noteout Done! This is just about as simple as it gets for building a MIDI synthesizer. In fact, you don’t even really need the number boxes; they’re just displaying the pitch and velocity data as they come in. However, for now, we’ll leave the number boxes in to ensure that data are fl owing properly. Remember that if you forget which outlet connects to which inlet, you can hold your mouse over an inlet or an outlet to reveal a small window displaying the type of data that is being received or sent. 6. Create a new object called kslider Kslider is graphical object that resembles a keyboard. It has two inlets that receive pitch and velocity, respectively. 7. Create 2 number boxes beneath kslider’s 2 outlets 8. Connect the outlets of kslider to the inlet of each number box, respectively In a moment, we will integrate the kslider into the existing objects in our patch. For now, let’s 9. Lock the patch and click on kslider’s keys Note that each key on kslider’s graphical keyboard sends the corresponding MIDI pitch out its left outlet.
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