Practice will never be boring again!
- Stringed 2 8 – Shift Pitch And Manipulate Tempo Reale
- Stringed 2 8 – Shift Pitch And Manipulate Tempos
- Stringed 2 8 – Shift Pitch And Manipulate Temporary
- Stringed 2 8 – Shift Pitch And Manipulate Temporal
Introducing Phrase Trainer 2
From getting a great accuracy and speed to being able to play in all keys today’s musicians must master every element of their skills. Phrase Trainer 2 is here to help with every step on the way of progress. And thanks to the redesigned user interface, Phrase Trainer 2 lets you move seamlessly among the elements, instantly going from setting/adjusting loop points,isolating parts of the song, to speed and key training and back again. And do it all with a single smart tool.
Why struggle with the cluttered interfaces, poor navigation, and antiquated window management that plague most similar software? Phrase Trainer 2 interface gives you a clear and configurable creative space that adapts to your practice routine and is made for musicians by a musician.
Why struggle with the cluttered interfaces, poor navigation, and antiquated window management that plague most similar software? Phrase Trainer 2 interface gives you a clear and configurable creative space that adapts to your practice routine and is made for musicians by a musician.
“I have been using phrase trainer since its first version and I use it every day for myself and with my guitar students!”
. Relationship between pitch and frequency-A high pitch sound corresponds to a high frequency sound wave and a low pitch sound corresponds to a low frequency sound wave. Guitars have 6 strings. Standard tuning E,A,D,G,B,E. When the frequency of a note is higher than it should be, it is considered sharp.
- Getbeats (starttime=0.0) ¶. Returns a list of beat locations, according to MIDI tempo changes. For compound meters (any whose numerator is a multiple of 3 greater than 3), this method returns every third denominator note (for 6/8 or 6/16 time, for example, it will return every third 8th note or 16th note, respectively).
- Zplane Elastique Pitch 2 As you’d expect from the company behind the pitchshifting built into so many DAWs, zplane’s own offering sounds phenomenal. Featuring an X/Y control pad, up to 12 semitones of Pitch and Timbre adjustment, dry/wet mix and a delay module, it’s easy to use, too.
- When you import a sample that represents a well-cut musical loop of 1,2,4 or 8 bars in length, Live usually makes the correct assumptions to play the loop in sync with the chosen tempo. It creates two Warp Markers, one at the sample’s beginning and one at the end.
-Andrew (USA)
Phrase Trainer 2 has been cleverly designed to make every aspect of practice even faster and more fluid. Turn on/off different tools as you need them, instantly set loops and switch between them, and navigate with unparalleled speed and precision with Timeline Zoom and big waveform display. Phrase Trainer 2 even remembers all settings for you automatically so you can quit fiddling with the software and get on with the business of practice or playing along just for the fun of it.
Boost your skills to the next level with Phrase Trainer 2.
Boost your skills to the next level with Phrase Trainer 2.
Stringed 2 8 – Shift Pitch And Manipulate Tempo Reale
Features
- Fine tuning in cents(1/100 of semitone)
- Slowdown/speedup from -50%(half) to 100% (double) speed
- Define as many loops per song as you want
- Zoom in and out of large waveform display
- Speed trainer, Pitch trainer
- Integrated file explorer, play list support, folder based playing, recent files and folders list
- Manipulate loops (Double loops,halve,shift…)
- One click saving,no boring “save” dialogs etc…
- MUSICIAN INTERFACE not USER INTERFACE !!!
- Play all standar audio files including midi files
- Export song as mp3,wav,ogg,wma
- Presets
- Keyboard shortcuts for all play-loop-pitch-tempo functions
![Manipulate Manipulate](https://i0.wp.com/www.macbed.com/wp-content/uploads/2017/03/49191.png?resize=256%2C256&ssl=1)
Stringed 2 8 – Shift Pitch And Manipulate Tempos
November 22, 2007 | Getting the ShiftYou've no doubt discovered there are many opportunities for a mandolinist who is able venture out of the lower seven frets (1st Position) of the instrument. One of the benefits of our FFcP system is of course, to make fingering in the upper frets comfortably familiar. The question arises, when do I leave the lower frets, or when do I need to 'shift.'
We can look to violin pedagogy for answers to questions like this, the purposes, the various types, the actual mechanics, and the appropriateness. We want to borrow from an excellent online resource by By Dr. Rami Kanaan, in his text 'A Handbook for Teaching Shifting to the Intermediate Level Violin Student.' His thoughts (substitute 'mandolin' or 'instrument' for 'violin':
The purposes of shifting
1) Shifting extends the overall tonal range of the violin
2) It extends the tonal ranges of each of the four strings
3) It facilitates the playing of awkward passages and eliminates string crossings
4) It opens the door to technical mastery on the violin through the knowledge of all the positions and their fingerings
5) It relieves the tension of the left hand from being constantly locked in 1st position (especially during the elementary study of the violin)
6) It enhances the musical expression and interpretation of musical passages
7) It makes the slide or portamento possible on the violin
1) Shifting extends the overall tonal range of the violin
2) It extends the tonal ranges of each of the four strings
3) It facilitates the playing of awkward passages and eliminates string crossings
4) It opens the door to technical mastery on the violin through the knowledge of all the positions and their fingerings
5) It relieves the tension of the left hand from being constantly locked in 1st position (especially during the elementary study of the violin)
6) It enhances the musical expression and interpretation of musical passages
7) It makes the slide or portamento possible on the violin
Types of shifts
1) Same-finger shift (1-1, 2-2, 3-3, and 4-4 in an ascending and descending direction)
2) Two-finger shift, which can be subdivided into:
a) low-numbered to high-numbered finger ascending or vice versa descending (for example, 1-2, 1-3, 1-4, 2-3, 2-4, and 3-4 in an ascending direction)
b) high-numbered to low-numbered finger ascending or vice versa descending (for example, 2-1, 3-1, 4-1, 3-2, 4-2, 4-3 in an ascending direction)
3) Half shift (the thumb does not move from the original position while the hand and fingers extend to another position, and then come back to the original position)
4) Retarded or delayed shift (the fingers extend or contract to the new position, and then the hand and thumb follow the fingers)
5) Shift from an open string (the hand shifts during the sound of an open string)
6) Shift between two strings (the old and new positions are on two different strings)
7) Substitution shift (shift to the same pitch with different fingers on the same string or on two different strings)
8) The portamento (the audible slide which is used for its artistic effect)
1) Same-finger shift (1-1, 2-2, 3-3, and 4-4 in an ascending and descending direction)
2) Two-finger shift, which can be subdivided into:
a) low-numbered to high-numbered finger ascending or vice versa descending (for example, 1-2, 1-3, 1-4, 2-3, 2-4, and 3-4 in an ascending direction)
b) high-numbered to low-numbered finger ascending or vice versa descending (for example, 2-1, 3-1, 4-1, 3-2, 4-2, 4-3 in an ascending direction)
3) Half shift (the thumb does not move from the original position while the hand and fingers extend to another position, and then come back to the original position)
4) Retarded or delayed shift (the fingers extend or contract to the new position, and then the hand and thumb follow the fingers)
5) Shift from an open string (the hand shifts during the sound of an open string)
6) Shift between two strings (the old and new positions are on two different strings)
7) Substitution shift (shift to the same pitch with different fingers on the same string or on two different strings)
8) The portamento (the audible slide which is used for its artistic effect)
Mount google drive windows. The mechanics of shifting
1) The hand and fingers must slide smoothly
2) The hand, thumb, fingers, wrist, and forearm must remain relaxed and must move together as a single unit (in shifting among the lower positions)
3) The hand shape must be maintained during the shift
4) The thumb must pass under the neck of the violin when reaching the fifth position and higher to allow the hand and fingers to maintain their shape above the fingerboard
5) The speed of the shift must be controlled
6) The pressure of the shifting finger must be minimized on the string
7) The speed and the pressure of the bow must be minimized during the shift
8) The finger must remain in contact with the string during the shift
9) The hand should shift on the beginning finger in two-finger shifts (this rule is very general and exceptions exist)
10) The left elbow must be mobile during the shift (the elbow moves to the right in ascending shifts and to the left in descending shifts)
11) Violin hold, balance, posture, and the use of proper accessories are crucial to the execution of successful shifts
12) The role of the ear is paramount in shifting (the combination of aural, tactile, and visual clues help the violinist to execute successful shifts)
1) The hand and fingers must slide smoothly
2) The hand, thumb, fingers, wrist, and forearm must remain relaxed and must move together as a single unit (in shifting among the lower positions)
3) The hand shape must be maintained during the shift
4) The thumb must pass under the neck of the violin when reaching the fifth position and higher to allow the hand and fingers to maintain their shape above the fingerboard
5) The speed of the shift must be controlled
6) The pressure of the shifting finger must be minimized on the string
7) The speed and the pressure of the bow must be minimized during the shift
8) The finger must remain in contact with the string during the shift
9) The hand should shift on the beginning finger in two-finger shifts (this rule is very general and exceptions exist)
10) The left elbow must be mobile during the shift (the elbow moves to the right in ascending shifts and to the left in descending shifts)
11) Violin hold, balance, posture, and the use of proper accessories are crucial to the execution of successful shifts
12) The role of the ear is paramount in shifting (the combination of aural, tactile, and visual clues help the violinist to execute successful shifts)
When to shift
1) Minimize the sound of the slide by shifting during a rest, after an open string, after a harmonic, during the same consecutive notes, during staccato notes, and after a dotted figure
2) Employ similar fingerings for similar passages (like in sequences)
3) Shift on strong or relatively strong beats (the concept of “rhythmic fingeringsâ€)
4) Employ shifts that ensure the smallest shifting distance in order to affect a smooth and unnoticeable slide (like shifting with one finger on the half step)
5) Use contractions and extensions in shifting to accomplish smooth and secure shifts
1) Minimize the sound of the slide by shifting during a rest, after an open string, after a harmonic, during the same consecutive notes, during staccato notes, and after a dotted figure
2) Employ similar fingerings for similar passages (like in sequences)
3) Shift on strong or relatively strong beats (the concept of “rhythmic fingeringsâ€)
4) Employ shifts that ensure the smallest shifting distance in order to affect a smooth and unnoticeable slide (like shifting with one finger on the half step)
5) Use contractions and extensions in shifting to accomplish smooth and secure shifts
Of course, some of this needs to be adapted for the violin. Devoid of frets, the violinist has a whole different baggage for determining finger placement and spatial reference. Most are taught to keep fingers down, if nothing else as a tactile guide to position. Holding the instrument vertical to the body rather than parallel like a mandolin requires a slightly difference way of handling the thumb, but in essence, there are far more similarities than departures.
![Temporal Temporal](https://img.magimg.com/uploads/beatunes.png?)
An excellent (and free!) download is available on the www.ramikanaan.com website with some golden shifting exercises and etude to keep you busy for a while. This is well worth the time looking over!
Downloard the whole thing: A Handbook for Teaching Shifting to the Intermediate Level Violin Student
Stringed 2 8 – Shift Pitch And Manipulate Temporary
Posted by Ted at November 22, 2007 4:33 PM Anymp4 mts converter 6 2 25 download free.
QuickNav:Home | Book | Webtracks | Tips | Store | Contact
Feeds:Tips & Tricks | What's New
© 2005-2019 JazzMando.com. All rights reserved.
Feeds:Tips & Tricks | What's New
© 2005-2019 JazzMando.com. All rights reserved.
Stringed 2 8 – Shift Pitch And Manipulate Temporal
Disclaimer: In the 'Information Age' of the 21st Century,any fool with a computer, a modem, and an idea can become a self-professed 'expert.' This site does notcome equipped with 'discernment.'