Latap, Kenneth John R.

III-SSC

Mr. Ronnie G. Alvarez Mapeh III

DANCE
Folk Dance

a popular ance con!i ere a! part o" the tra ition o" a particular people or area.

Characteri!tic! o" Folk Dance #he$ %ere ori&inall$ ance in a'out the ()th centur$ or earlier *or are, in an$ ca!e, not currentl$ cop$ri&hte +, #heir per"or-ance i! o-inate '$ an inherite tra ition rather than '$ innovation, #he$ %ere ance '$ co--on people an not e.clu!ivel$ '$ ari!tocrac$, #he$ have 'een evelope !pontaneou!l$ an there i! no &overnin& 'o $ that ha! "inal !a$ over %hat /the ance/ i! or %ho i! authorize to teach it. #hi! al!o -ean! that no one ha! the "inal !a$ over the e"inition o" "olk ance or the -ini-u- a&e "or !uch ance!. Folk ance! are tra itionall$ per"or-e urin& !ocial event! '$ people %ith little or no pro"e!!ional trainin&. 0e% ancer! o"ten learn in"or-all$ '$ o'!ervin& other! an 1or receivin& help "ro- other!. Folk ancin& i! vie%e a! -ore o" a !ocial activit$ rather than co-petitive, althou&h there are pro"e!!ional an !e-i-pro"e!!ional "olk ance &roup!, an occa!ional "olk ance co-petition!./ #$pe! o" Folk Dance! (. 2un3a' "olk ance - 2un3a'i ance! are a collection o" "olk an reli&iou! ance! o" the 2un3a'i people like Ja&&o ance 4han&ra ance Sa--i ance Kikli Dance. 5.a-ple!6 Gi ha Dance, Jhu-ar Dance, Dha-al Dance, Lu Dance 7. Goa "olk ance - #he tra itional ance o" Goa &ive! a picture o" the -in !et an li"e!t$le o" Goan!. #he$ re"lect the rich hi!torical an cultural le&ac$ that Goaa'oun !. 5.a-ple!6 Da!havatara Dance, Ku-'i Dance, Gho e Mo ni, La-p Dance 8. 9ar$ana "olk ance - 9ar$ana i! a !tate that live! a li"e o" vi'rant an 3o$. #he$ are ver$ har %orkin& people an have an in"luence o" 2un3a' an Ra3a!than. 5.a-ple!6 Ra! Lela, 2ha& Dance, Dha-al Dance, Loor Dance :. Ra3a!than "olk ance - #he tra itional ance! o" Ra3a!than i! a'!olutel$ color"ul an livel$ an ha! their o%n !i&ni"icance an i-portance. 5.a-ple!6 Ghoo-ar Dance, Sapera Dance, Dru- Dance, Gair Dance i

Music

2art! an Function! o" 2iano an Ri&ht 2o!itionin&

Parts of the Piano The many parts of the piano are constructed together to create a string instrument whose strings are struck by hammers and whose hammers are activated by keys. The parts of the piano are held in place by the frame, made of wooden beams, which can be seen on the back of an upright, or the underside of a grand piano. The frame is attached to the rim on a grand, and the case on an upright. The grand has an inner and outer rim. The soundboard sits on the shorter inner rim. Attached to the frame is the pin block, soundboard and cast iron plate. The pin block is made of laminated hard wood, usually at least 5 layers. The steel tuning pins sit an inch and a half into the pin block, with the perpindicular laminated grain holding the pin tightly. The soundboard is usually sitka spruce, 3/ ! thick, shaped to be concave with a !crown.! This crown creates a diaphramatic soundboard with tension that makes a tighter, louder tone. "n to the soundboard, one of the most important parts of the piano, are attached the hardwood bridges, where one end of the speaking length of the strings terminate, sending vibrations to the soundboard. The soundboard has hardwood ribs to give it more strength, and hold its shape.

The cast iron plate has the toughest #od of the parts of the piano. $t has to hold the piano together, under the pressure of about %3& strings creating around ' tons of compression. The plate sits over the pin block, is attached securely to it, and has holes for the pins. The strings are hitched to the plate at the other end. The piano strings are steel wire of varying thickness. The bass strings are made thicker and heavier with copper winding around the core string. The strings are held down for tension at the tuning end with a bearing bar (or pressure bar) on uprights, or agraffe on most grands (and some uprights). The keyboard and action sit firmly on the keybed, large, thick wooden planks secure tightly to the frame. The damper is a piece of felt that rests on the strings to mute the sound when the string is not being played. The high treble has no dampers, because the sound of these strings decays so *uickly. The Pedals +ost pianos have two pedals, and some have three. The pedal on the right is the sustain pedal, which activates a series of levers that raises all of the dampers. The pedal on the left is the soft pedal on vertical pianos, which moves all of the hammers closer to the strings, thereby decreasing velocity and volume. "n grand pianos, the pedal on the left is called the una corda, which moves the whole action to the right, so the hammers strike only two of the three strings per note, thereby decreasing volume. The third pedal on higher *uality grand pianos is called the sostenuto pedal, which will sustain only the notes held prior to and while pushing down the pedal. This can act like a !third hand! for a player proficient in its use. "n lesser grands and some uprights the third pedal will sustain only the bass notes, a similar effect to the sostenuto. "n most uprights with three pedals, the middle pedal is usually a practice pedal. ,hen depressed, this pedal moves a mechanism that drops a sheet of felt in front of the hammers, greatly decreasing the volume. "ften these pedals can be !locked! in position, so the player does not have to hold it down.

How to Place Your Fingers Properly on Piano Keys

Steps

1.

1
Memorizethe piano finger numbering system. Fingers are numbered to make it easier to write down finger placement on sheet music. It also helps explaining proper piano finger placement. The numbering of fingers is the same for both left and right hands. The numbering system is as follows:

The thumb finger is number 1.

The index finger is number 2.

The middle finger is number 3.

The ring finger is number 4.

The pinky finger is number 5.

Edit

Method1 of 3: Righthandfingersplacement

1.

1
Start at MiddleC.

2.

2
Put finger1 on the middleC note key.

3.

3
Put finger2 on D, 3 on E, 4 on F, 5 on G. This is known as the Going up pattern.

4.

4
Playthe notesC-D-E-F-G usingthe currentfingerplacement.

5.

Movefinger1 to the right, andbelowthe otherfingersjust whenyour finger5 starts to go downto hit the G note key.

6.

6
Passfinger1 underfinger5 to play the next A note.

7.

7
Repeatthe five fingerorderoutlinedbeforeso that finger2 pressesB, 3 on C5, 4 on D5, and 5 on E5.

8.

8
Repeatthe previouspatternuntil you reachthe end of the keyboard .
Edit

Method2 of 3: Left-handfingersplacement

1.

1
Start at MiddleC.

2.

2
Put finger1 on the middleC note key.

3.

3
Put finger2 on B3, 3 on A3, 4 on G3, 5 on F3. This is known as the Going down pattern.

4.

4
Playthe notesC4-B3-A3-G3-F3 usingthe currentfingerplacement.

5.

5
Movefinger1 to the left, and belowthe otherfingersjust whenyour finger5 startsto go downto hit the F notekey.

6.

6
Passfinger1 underfinger5 to play the next E3 note.

7.

7
Repeatthe five fingerorderoutlinedbeforeso that finger2 pressesD3, 3 on C3, 4 on B2, and5 on A2.

8.

8
Repeatthe previouspatternuntil you reachthe end of the keyboard.
Edit

Method3 of 3: PlayingScales

1.

1
Your5th fingershouldgenerallyonly be usedfor startingor endinga scale, not passingtones. In other words, you should cross your 1st finger under your 3rd or 4th finger, not the 5th.

2.

2
For a C scale, right handexample,you will play C, D, and E with fingers1, 2, and 3, thenpassfinger1 underthe 3rd to play F, G, A, B, and C with 1, 2, 3, 4, and5. Reverse this coming back down. (Note that ending on your 5th finger here is fine.)

3.

3
If you are continuingup morethanone octave,you will crossyour 1st fingerunderthe 4th, changingfromB to C readyto start over with the samepatternon the next octave.

4.

4
For the left handgoingup, you wantto crossyour 3rd fingerover your first goingfromG to A. Continuing another octave, you'll cross your 4th over the 1st from C to D. It makes more sense to think of the mirrored fingerings, but playing up with your right and down with your left is not the norm. (Note that beginning on your 5th finger here is perfectly acceptable.)

5.

5
This crossingunderfingers3 and 4 (or over with fingers3 and 4) maynot seemimportanton the all-white-keysC scale, but whenyoustart workingon otherkeys, its importancebecomesclear, so startingthesegoodhabitswhile learningthis easyscalewill pay off in the longrun. (In most keys, you will always begin with your left hand on your 5th finger and end with your right hand on your 5th finger.)

HISTORY OF PIANO
The story of the piano begins in -adua, $taly in '.&/, in the shop of a harpsichord maker named 0artolomeo di 1rancesco 2ristofori ('355-'.3'). +any other stringed and keyboard instruments preceded the piano and led to the development of the instrument as we know it today. +ankind4s knowledge that a taut, vibrating string can produce sound goes back to prehistoric times. $n the ancient world, strings were attached and stretched over bows, gourds, and bo5es to amplify the sound6 they were fastened by ties, pegs and pins6 and they were plucked, bowed or struck to produce sounds. 7ventually, a family of stringed instruments with a keyboard evolved in 7urope in the '8th century. The earliest of these was a dulcimer, a closed, shallow bo5 over which stretched wires were struck with two wooden hammers. The dulcimer led to the development of the clavichord, which also appeared in the '8th century. These were followed by the spinet, virginal, clavecin, gravicembalo, and finally, the harpsichord in the '5th century. The harpsichord, however, was limited to one, unvarying volume. $ts softness and loudness could not be varied while playing. Therefore, performing artists could not convey the same degree of musical e5pression as that of most other instruments. The artistic desire for more controlled e5pression led directly to the invention of the piano, on which the artist could alter the loudness and tone with the force of one4s fingers. The harpsichord was a particularly important development leading to the invention of the piano. $ts ability to pro#ect sound more loudly than its predecessors, and refinements in the action (or touch) inspired many more musicians to compose for the keyboard and thus, to perform keyboard works. 1irst e5hibited in 1lorence in '.&/, 2ristofori4s new instrument was named gravicembalo col piano e forte (roughly 9soft and loud keyboard instrument:). 7ventually, it was shortened to fortepiano or pianoforte, and finally #ust piano. ;is earliest surviving instrument dates from '.%& and is on display at the +etropolitan +useum of Art in <ew =ork 2ity. >espite many improvements during the past 3&& years, it is truly astonishing to observe how similar 2ristofori4s instruments are to the modern piano of today.

New Technology in Pianos

,e are living in perhaps the most e5citing time in history to buy, own or play that eternal instrument, the piano. ,hether your goal is to purchase something as small as software that can record what you play, a newly designed player piano, a digital instrument or a classic acoustic model, there have never been as many choices for the consumer.

Player Pianos
Also called 9reproducing pianos,: this class of instrument represents a modern update on the paper-roll player pianos you remember from old movies, and they4ve grown enormously in popularity over the last decade. These are not digital instruments ? they4re real, acoustic pianos with hammers and strings that can be played normally ? but they can also 9play themselves: using sophisticated electronic technology. $nstead of punched

paper, they take their cues from floppy disks, specially formatted 2>s or internal memory systems. @everal manufacturers offer vast libraries of prerecorded titles for their systemsAmusic in every genre from pop to the classicsArecorded by some of the world4s top pianists. These sophisticated systems capture every nuance of the original performances and play them back with startling accuracyAproviding something that4s actually much better than 2> fidelity, because the performances are live. Thanks to these new systems, many people who don4t play the piano are en#oying live piano music any time of the night or day. ,hether they4re accompanying dinners for two or entertaining a houseful of partygoers, these high tech pianos take center stage. 1or people who do play the piano, these systems can be used to record their own piano performances, interface with computers, aid in music education, assist with composing and many other applications. $n short, these modern marvels are not your grandfathers4 player pianosB

Digital Pianos
To the uninitiated, digital pianos may appear related to the ine5pensive toy keyboards than can be purchased over the counter at electronics stores. 0ut that4s like comparing a go-kart with a fancy touring sedan. The digital pianos produced by many of today4s top piano companies produce sophisticated, sampled piano sounds taken from their own top models. ,hat4s more, they offer other instrument voices ? sometimes by the hundreds ? with striking realism. 0ecause digital pianos are software-driven, they also open up e5citing new ways for beginners to make music. 1or e5ample, some keyboards feature lights over the keys to help you play a favorite tune, or learning programs that combine the music with an on-screen display. >igital pianos help home musicians get more out of the $nternet as well, and they can be connected not only to a computer, but to other instruments for arranging and orchestration. ,ith memory storage setups such as 1lash C"+, users can download and store new music. There are also a number of digital pianos that offer a variety of uni*ue functionsAsuch as providing you with a lot of different preset and combo sounds, ones that can give you a layering effect to your playing. @ome of these instruments also include a Daraoke/Eideo output for the ne5t time you want to put a little life in your party.

Software
There is probably no more e5citing area of growth in the piano industry than that of software technology. @cience fiction writers of the past would be impressed by today4s advancements ? like software that converts music files to sheet musicF downloads and unGips music files and Daraoke files from the $nternetF or even lets musicians print entire musical scores and analyGe their harmonies and chord names. Today4s software will even let users shop for, purchase and print sheet music over the $nternet, if you can4t find the score in a store. Durt Eonnegut, who wrote 9-layer -iano: in the 5&s, would not believe the new software that currently e5ists for these instruments. 1or e5ample, there is now software for the piano that will allow it to load hours of pre-recorded music, with no discs or 2>s to change6 everything from #aGG to the classics. @hould you be looking for music by a

specific pianist, you will be able to find itH everyone from 1loyd 2ramer to -eter <ero is represented, and can keep your piano (or your get-together) humming. 0ut software is not #ust for the player piano. 1or the budding composer, there is also new technology galore. 1or instance, the first ensemble piano that features 2>-C technology is now available. This piano has the capability of 2>-C ? meaning you can put a disc in this piano, record a 2> of a song you have written or played, and, immediately play the disc back in your boom bo5 or -2. And not #ust keyboard sounds6 vocals, too, can be Iburned,4 enabling any budding songwriter to produce a '3 track studio-*uality Idemo.4 @ynthesiGers are still very popular among #aGG and rock musicians. Among the newest is a synth that offers multiple oscillator technologies and has real-time control over pitch, time and format. There are also synthesiGers that give players the ability to control audio with the same fle5ibility as any music file, all due to new technology. This new software can take on all sorts of new musical and recording functions.

The Traditional Piano

And what of traditional concert pianosJ ;ave they been lost in the technological shuffleJ 1ar from it. ,ith countless artists from 0ruce ;ornsby to +ichael 1einstein using them, the acoustic piano is still very much in demand. ,hile the basic design of the acoustic piano is remarkably simila to the first models from around '.&&, manufacturers are including innovations at a rapid pace. @ome of the updates draw on materials science, to find special woods or newly available materials that make a piano more durable and tonally stable. @ome use engineering know-how to strengthen the piano and keep its sound deep and rich for years. And 3&& years of e5perience with the mechanics of a piano4s action has resulted in keyboards that feel great and stay in tune better. 2oncert grands are used by numerous conductors, composers and songwritersAand are more available and affordable than ever. And although concert grands are the choice of performers, there are many high *uality baby grands that are designed to meet the needs of the home owners and players of all levels. ,hether you are looking for a compact instrument or a larger one renowned for its lower register and power ? whether you want a piano than can keep up with the loudest orchestra, one that re-creates a classic style from the past, or an instrument made of a particular kind of wood ? you should have no trouble finding the traditional piano that suits your needs. $t4s very clear in %&&8, that whether you want to play, record, mi5, have a player piano entertain you, or sit down and practice 0rahms or 0ach, there probably has never been a period in which the piano has been available in so many different and useful forms. ,hatever your musical needs, there is a piano (and perhaps software) out there waiting for you.