1.
Crochet
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Crochet is a process of creating fabric by interlocking loops of yarn, thread, or strands of other materials using a crochet hook. The name is derived from the French term crochet, meaning small hook and these are made of materials such as metal, wood, or plastic and are manufactured commercially and produced in artisan workshops. The word crochet is derived from the Old French crochet, a diminutive of croche, in turn from the Germanic croc, although that fabric is not known to be crochet in the present sense, a genealogical relationship between the techniques sharing that name appears likely. Knitted textiles survive from early periods but the first substantive evidence of crocheted fabric relates to its appearance in Europe during the 19th century, earlier work identified as crochet was commonly made by nålebinding, a separate looped yarn technique. The first known published instructions for crochet explicitly using that term to designate the craft in its present sense and this includes a color plate showing five different style purses of which three were intended to be crocheted with silk thread. The first is simple open crochet, a mesh of chain-stitch arches, the second starts in a semi-open form, where chain-stitch arches alternate with equally long segments of slip-stitch crochet, and closes with a star made with double-crochet stitches. The third purse is made entirely in double-crochet, the instructions prescribe the use of a tambour needle and introduce a number of decorative techniques. The earliest dated English reference to garments made of cloth produced by looping yarn with a hook — shepherds knitting — is in, The Memoirs of a Highland Lady, by Elizabeth Grant. The journal entry, itself, is dated 1812 but was not recorded in its published form until some time between 1845 and 1867, and the actual date of publication was first in 1898. Nonetheless, the 1833 volume of Penélopé describes and illustrates a shepherds hook, in 1842, one of the numerous books discussing crochet that began to appear in the 1840s states, Crochet needles, sometimes called Shepherds hooks, are made of steel, ivory, or box-wood. They have a hook at one end similar in shape to a fish-hook, by which the wool or silk is caught and these instruments are to be procured of various sizes. It derives its present name from the French, the instrument with which it is worked being by them, from its crooked shape, termed crochet. This art has attained its highest degree of perfection in England, whence it has been transplanted to France and Germany, an instruction book from 1846 describes Shepherd or Single Crochet as what in current British usage is either called single crochet or slip-stitch crochet, with U. S. American terminology always using the latter and it similarly equates Double and French crochet. Notwithstanding the categorical assertion of a purely British origin, there is evidence of a connection between French tambour embroidery and crochet. The former method of production was illustrated in detail in 1763 in Diderots Encyclopedia, the 1823 Penélopé instructions unequivocally state that the tambour tool was used for crochet and the first of the 1840s instruction books uses the terms tambour and crochet as synonyms. This equivalence is retained in the 4th edition of work,1847. The strong taper of the shepherds hook eases the production of slip-stitch crochet but is less amenable to stitches that require multiple loops on the hook at the same time, early yarn hooks were also continuously tapered but gradually enough to accommodate multiple loops
2.
Musical note
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In music, the term note has three primary meanings, A sign used in musical notation to represent the relative duration and pitch of a sound, A pitched sound itself. Notes are the blocks of much written music, discretizations of musical phenomena that facilitate performance, comprehension. In the former case, one note to refer to a specific musical event, in the latter. Two notes with fundamental frequencies in an equal to any integer power of two are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the pitch class. However, within the English-speaking and Dutch-speaking world, pitch classes are represented by the first seven letters of the Latin alphabet. A few European countries, including Germany, adopt an almost identical notation, the eighth note, or octave, is given the same name as the first, but has double its frequency. The name octave is also used to indicate the span between a note and another with double frequency, for example, the now-standard tuning pitch for most Western music,440 Hz, is named a′ or A4. There are two systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation. Letter names are modified by the accidentals, a sharp ♯ raises a note by a semitone or half-step, and a flat ♭ lowers it by the same amount. In modern tuning a half step has a ratio of 12√2. The accidentals are written after the name, so, for example, F♯ represents F-sharp, B♭ is B-flat. Additional accidentals are the double-sharp, raising the frequency by two semitones, and double-flat, lowering it by that amount, in musical notation, accidentals are placed before the note symbols. Systematic alterations to the seven lettered pitches in the scale can be indicated by placing the symbols in the key signature, explicitly noted accidentals can be used to override this effect for the remainder of a bar. A special accidental, the natural symbol ♮, is used to indicate an unmodified pitch, effects of key signature and local accidentals do not accumulate. If the key signature indicates G♯, a flat before a G makes it G♭, though often this type of rare accidental is expressed as a natural. Likewise, a sharp sign on a key signature with a single sharp ♯ indicates only a double sharp. Assuming enharmonicity, many accidentals will create equivalences between pitches that are written differently, for instance, raising the note B to B♯ is equal to the note C
3.
Whole note
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In music, a whole note or semibreve is a note represented by a hollow oval note head and no note stem. Its length is equal to four beats in 44 time, that is the whole 44 measure, most other notes are fractions of the whole note. The symbol is first found in music notation from the thirteenth century, and its British name derives from the semibrevis of mensural notation. The whole note and whole rest may also be used in music of free rhythm, such as Anglican chant, a whole note or semibreve is a musical note represented by a hollow oval note head—like a half note —and no note stem. Its length is equal to four beats in 44 time, that is the whole 44 measure, most other notes are fractions of the whole note. Half notes last for one half the duration of the note, quarter notes last for one quarter the duration. A related symbol is the whole rest and it usually applies for an entire measure, but may occasionally mean a rest for the duration of a whole note, in longer time signatures such as 32 or 54. The whole note and whole rest may also be used in music of free rhythm, such as Anglican chant, to denote a whole measure, the whole rest can be used this way in almost all or all forms of music. The symbol is first found in music notation from the thirteenth century. The whole note derives from the semibrevis of mensural notation, the American name is a calque of the German ganze Note. Chinese, Japanese, Korean, and Vietnamese names mean whole note, musical notation Morehen, John, and Richard Rastall. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
4.
Beat (music)
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In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. In popular use, beat can refer to a variety of related concepts including, tempo, meter, specific rhythms, Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats and divided into bars organized by time signature and tempo indications. Metric levels faster than the level are division levels. Beat has always been an important part of music, some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance. The downbeat is the first beat of the bar, i. e. number 1, the upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor, an anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include pickup and anacrusis, the latter term was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line. In music that progresses regularly in 44 time, counted as 1234,1234. The first beat of the bar is usually the strongest accent in the melody and the likeliest place for a change, the third is the next strongest. The second and fourth are weaker—the off-beats, subdivisions that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it off-beat. The effect can be simulated by evenly and repeatedly counting to four. This is a technique of African polyrhythm that transferred to popular western music. According to Grove Music, the Offbeat is where the downbeat is replaced by a rest or is tied over from the preceding bar, the downbeat can never be the off-beat because it is the strongest beat in 44 time. Certain genres tend to emphasize the off-beat, where this is a characteristic of rocknroll. A back beat, or backbeat, is a syncopated accentuation on the off beat, in a simple 44 rhythm these are beats 2 and 4. A big part of R&Bs attraction had to do with the stompin backbeats that make it so eminently danceable, an early record with an emphasised back beat throughout was Good Rockin Tonight by Wynonie Harris in 1948. There is a back beat on Roll Em Pete by Pete Johnson and Big Joe Turner. A distinctive back beat can be heard on Back Beat Boogie by Harry James And His Orchestra, outside U. S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil
5.
Time signature
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The time signature is a notational convention used in Western musical notation to specify how many beats are to be contained in each bar and which note value is to be given one beat. A mid-score time signature, usually following a barline, indicates a change of meter. | Simple time signatures consist of two numerals, one stacked above the other, The lower numeral indicates the value that represents one beat. The upper numeral indicates how many beats there are grouped together in a bar. For instance,24 means two quarter-note beats per bar—38 means three eighth-note beats per bar, the most common simple time signatures are 24,34, and 44. The symbol is used for 44 time, also called common time or imperfect time. In modern notation, it is used in place of 22 and is called alla breve or, colloquially, in compound meter, subdivisions of the main beat are in three equal parts, so that a dotted note becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the part of the beat unit is the beat. The lower number is most commonly an 8, as in 98 or 128,34 is a simple signature that represents three quarter notes. To the ear, a bar may seem like one singular beat, for example, a fast waltz, notated in 34 time, may be described as being one in a bar. Terms such as quadruple, quintuple, and so on are also occasionally used, as mentioned above, though the score indicates a 34 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units, on a formal mathematical level the time signatures of, e. g.34 and 38 are interchangeable. In a sense, all simple triple time signatures, such as 38,34,32, etc. —and all compound duple times, such as 68,616, a piece in 34 can be easily rewritten in 38, simply by halving the length of the notes. Other time signature rewritings are possible, most commonly a simple time signature with triplets translates into a compound meter, though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a note value in the beat unit implies a more complex notation. Second, beaming affects the choice of actual beat divisions and it is, for example, more natural to use the quarter note/crotchet as a beat unit in 64 or 22 than the eight/quaver in 68 or 24. Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 48 or 42. For all meters, the first beat is stressed, in time signatures with four groups in the bar
6.
Notehead
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In music, a notehead is the elliptical part of a note. Noteheads may be colored black or white, indicating the note value. In a whole note, the notehead is the component of the note. Shorter note values attach a stem to the notehead, and possibly beams or flags, the longer double whole note can be written with vertical lines surrounding it, two attached noteheads, or a rectangular notehead. Noteheads ultimately derive from the used to notate Gregorian chant. The punctum, seen at right, is the simplest of the shapes, when placed on a clef, the position of a notehead indicated the relative frequency of a note. The development of different colors of noteheads, and the use of it to indicate rhythmic values, was the use of white mensural notation, franco of Cologne, ancient composer and music theorist, codified a system of rhythm notation. He explained this system in his work, Ars Cantus Mensurabilis, in this system, the relative duration of notes was indicated by the note shapes. The noteheads were rectangles, squares, or diamonds depending on the note length and this system was expanded during the Ars Nova period. Shortly before the Renaissance, scribes began to write the notes of the Franconian, during the Renaissance, composers added shorter note durations that used filled-in noteheads. Near the end of the 16th century, the square or diamond-shaped notes changed to the round noteheads that are used today
7.
Stem (music)
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In musical notation, stems are the, thin, vertical lines that are directly connected to the head. Stems may point up or down, different-facing stems indicate the voice for polyphonic music written on the same staff. Within one voice, the stems usually point down for notes on the line or higher. If the stem points up from a notehead, the stem originates from the side of the note. There is an exception to rule, if a chord contains a second. If the chord contains an odd numbered cluster of notes a second apart, the length of a stem should be that of an octave on the staff, going to either an octave higher or lower than the notehead, depending on which way the stem is pointing. If a note head is on a line more than an octave away from the middle line of a staff. In any polyphonic music in two parts are written on the same staff, stems are typically shortened to keep the music visually centered upon the staff. Stems may be altered in ways to alter the rhythm or other method of performance. For example, a note with diagonal slashes through its stem is played tremolo
8.
Staff (music)
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Appropriate music symbols, depending on the intended effect, are placed on the staff according to their corresponding pitch or function. Musical notes are placed by pitch, percussion notes are placed by instrument, the absolute pitch of each line of a non-percussive staff is indicated by the placement of a clef symbol at the appropriate vertical position on the left-hand side of the staff. For example, the treble clef, also known as the G clef, is placed on the second line, the lines and spaces are numbered from bottom to top, the bottom line is the first line and the top line is the fifth line. The musical staff is analogous to a graph of pitch with respect to time. Pitches of notes are given by their position on the staff. A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures, staff is more common in American English, stave in British English. The plural is staves in either case, stave is, in fact, the vertical position of the notehead on the staff indicates which note to play, higher-pitched notes are marked higher on the staff. The notehead can be placed with the center of its notehead intersecting a line, notes outside the range of the staff are placed on or between ledger lines—lines the width of the note they need to hold—added above or below the staff. Exactly which staff positions represent which notes is determined by a clef placed at the beginning of the staff, the clef identifies a particular line as a specific note, and all other notes are determined relative to that line. For example, the treble clef puts the G above middle C on the second line, the interval between adjacent staff positions is one step in the diatonic scale. Once fixed by a clef, the represented by the positions on the staff can be modified by the key signature. A clefless staff may be used to represent a set of percussion sounds, a single vertical line drawn to the left of multiple staves creates a system, indicating that the music on all the staves is to be played simultaneously. A bracket is a vertical line joining staves, to show groupings of instruments that function as a unit. A brace is used to join multiple staves that represent a single instrument, such as a piano, organ, harp, or marimba. Sometimes, a bracket is used to show instruments grouped in pairs, such as the first and second oboes, or the first. In some cases, a brace is used for this instead of a bracket. When more than one system appears on a page, often two parallel diagonal strokes are placed on the left side of the score to separate them. Four-part SATB vocal settings, especially in hymnals, use a notation on a two-staff system with soprano and alto voices sharing the upper staff
9.
Part (music)
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A part is a strand or melody of music played by an individual instrument or voice within a larger work. Parts may be referred to as a part or an inner part. Part-writing is the composition of parts in consideration of harmony and counterpoint, in the context of polyphonic composition the term voice may be used instead of part to denote a single melodic line or textural layer. The term is generic, and is not meant to imply that the line should necessarily be vocal in character, allen Forte defines a voice thus, By voice we mean the succession of notes performed by a single human voice or single-line instrument. Codex Calixtinus contains the earliest extant decipherable part music, part writing is derived from four-voice chorales written by J. S. The late baroque era composer wrote a total of 371 harmonized chorales, today most students reference Albert Riemenschneiders 1941 compilation of Bach chorales. Part writing is a technique that involves writing a piece of music for one or more parts. Briefly, it, may be defined as Part-writing and it has also been defined, happily, as the art of combining melodies. In other words, laws of combination, and laws of progression, individual, in musical forms, a part may refer to a subdivision in the structure of a piece. This is for example the case in the widely used ternary form, in this form the first and third parts are musically identical, or very nearly so, while the second part in some way provides a contrast with them. In this meaning of part, similar terms used are section, strain, or turn
s on bass and snare,
to 128th (all at 
1
, or occasionally, as the older symbol 
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