Fivenotes 2 2 2

1. Fivenotes 2 2 2 X 2
2. 2.2.2.2 Server

• FiveNotes is a small text editor that you can always access by clicking (or pressing shortcut keys) on its Status bar icon. Even if you're working on a full screen app. If you prefer, it can stay on top of the window, so it can be used as a cheat-sheet app. FiveNotes offers exactly 5 notes that can be switched using colourful circles under the.
• FiveNotes 2.2.2 with one click. FiveNotes (formerly known as Quick) is a small text editor that you can always access by clicking (or pressing shortcut keys) on its Status bar icon. Even if you're working on a full screen app.

FiveNotes 2.2.2. FiveNotes (formerly known as Quick) is a small text editor that you can always access by clicking (or pressing the shortcut keys) in its mtatus-bar icon, even if you are working in a full-screen application. If you want, he can stay on the top of the window, so it can be used as a cheat-sheet applications. FiveNotes 2.2.2 January 29, 2020 FiveNotes (formerly known as Quick) is a small text editor that you can always access by clicking (or pressing shortcut keys) on its mtatus-bar icon, even if you're working in a full-screen app. The phrase 'two plus two equals five' (2 + 2 = 5) is used in the dystopian novel Nineteen Eighty-Four (1949), by George Orwell, as a dogmatic statement of Ingsoc (English Socialism) philosophy, like the slogan 'War is Peace', which the Party expects the citizens of Oceania to believe is true.In writing his secret diary in the year 1984, the protagonist Winston Smith ponders if the Inner Party.

In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is 'any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)' (Humphries 2002, 266). This is indicated by a number (or sometimes two), indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur.

The most common type of tuplet is the triplet.

Terminology[edit]

The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as 'tuple', '-uplet' and '-plet', which are used to form terms denoting multiplets (Oxford English Dictionary, entries 'multiplet', '-plet, comb. form', '-let, suffix', and '-et, suffix¹'). An alternative modern term, 'irrational rhythm', was originally borrowed from Greek prosody where it referred to 'a syllable having a metrical value not corresponding to its actual time-value, or ... a metrical foot containing such a syllable' (Oxford English Dictionary, entry 'irrational'). The term would be incorrect if used in the mathematical sense (because the note-values are rational fractions) or in the more general sense of 'unreasonable, utterly illogical, absurd'.

Alternative terms found occasionally are 'artificial division' (Jones 1974, 19), 'abnormal divisions' (Donato 1963, 34), 'irregular rhythm' (Read 1964, 181), and 'irregular rhythmic groupings' (Kennedy 1994). The term 'polyrhythm' (or 'polymeter'), sometimes incorrectly used of 'tuplets', actually refers to the simultaneous use of opposing time signatures (Read 1964, 167).

Besides 'triplet', the terms 'duplet', 'quadruplet', 'quintuplet', 'sextuplet', 'septuplet', and 'octuplet' are used frequently. The terms 'nonuplet', 'decuplet', 'undecuplet', 'dodecuplet', and 'tredecuplet' had been suggested but up until 1925 had not caught on (Dunstan 1925,^{[page needed]}). By 1964 the terms 'nonuplet' and 'decuplet' were usual, while subdivisions by greater numbers were more commonly described as 'group of eleven notes', 'group of twelve notes', and so on (Read 1964, 189).

Triplet[edit]

The most common tuplet (Schonbrun 2007, 8) is the triplet (Ger.Triole, Fr.triolet, It.terzina or tripletta, Sp.tresillo). Whereas normally two quarter notes (crotchets) are the same duration as a half note (minim), three triplet quarter notes have that same duration, so the duration of a triplet quarter note is ​²⁄₃ the duration of a standard quarter note.

Similarly, three triplet eighth notes (quavers) are equal in duration to one quarter note. If several note values appear under the triplet bracket, they are all affected the same way, reduced to ​²⁄₃ their original duration.

The triplet indication may also apply to notes of different values, for example a quarter note followed by one eighth note, in which case the quarter note may be regarded as two triplet eighths tied together (Gehrkens 1921, 19).

In some older scores, rhythms like this would be notated as a dotted eighth note and a sixteenth note as a kind of shorthand (Troeger 2003, 172) presumably so that the beaming more clearly shows the beats.

Tuplet notation[edit]

Fivenotes 2 2 2 X 2

Notation[edit]

Tuplets are typically notated either with a bracket or with a number above or below the beam if the notes are beamed together. Sometimes, the tuplet is notated with a ratio (instead of just a number) — with the first number in the ratio indicating the number of notes in the tuplet and the second number indicating the number of normal notes they have the same duration as — or with a ratio and a note value.

Rhythm[edit]

Simple meter[edit]

For other tuplets, the number indicates a ratio to the next lower normal value in the prevailing meter (a power of 2 in simple meter). So a quintuplet (quintolet or pentuplet (Cunningham 2007, 111)) indicated with the numeral 5 means that five of the indicated note value total the duration normally occupied by four (or, as a division of a dotted note in compound time, three), equivalent to the second higher note value. For example, five quintuplet eighth notes total the same duration as a half note (or, in ³
₈ or compound meters such as ⁶
₈, ⁹
₈, etc. time, a dotted quarter note).

Some numbers are used inconsistently: for example septuplets (septolets or septimoles) usually indicate 7 notes in the duration of 4—or in compound meter 7 for 6—but may sometimes be used to mean 7 notes in the duration of 8 (Read 1964, 183–84). Thus, a septuplet lasting a whole note can be written with either quarter notes (7:4) or eighth notes (7:8).

To avoid ambiguity, composers sometimes write the ratio explicitly instead of just a single number. This is also done for cases like 7:11, where the validity of this practice is established by the complexity of the figure. A French alternative is to write pour ('for') or de ('of') in place of the colon, or above the bracketed 'irregular' number (Read 1964, 219–21). This reflects the French usage of, for example, 'six-pour-quatre' as an alternative name for the sextolet (Damour, Burnett, and Elwart 1838, 79; Hubbard 1924, 480).

There are disagreements about the sextuplet (pronounced with stress on the first syllable, according to Baker 1895, 177)—which is also called sestole, sestolet, sextole, or sextolet (Baker 1895, 177; Cooper 1973, 32; Latham 2002; Shedlock 1876, 62, 68, 87, 93; Stainer and Barrett 1876, 395; Taylor 1879–89; Taylor 2001). This six-part division may be regarded either as a triplet with each note divided in half (2 + 2 + 2)—therefore with an accent on the first, third, and fifth notes—or else as an ordinary duple pattern with each note subdivided into triplets (3 + 3) and accented on both the first and fourth notes. This is indicated by the beaming in the example below.

Some authorities treat both groupings as equally valid forms (Damour, Burnett, and Elwart 1838, 80; Köhler 1858, 2:52–53; Latham 2002; Marx 1853, 114; Read 1964, 215), while others dispute this, holding the first type to be the 'true' (or 'real') sextuplet, and the second type to be properly a 'double triplet', which should always be written and named as such (Kastner 1838, 94; Riemann 1884, 134–35; Taylor 1879–89, 3:478). Some go so far as to call the latter, when written with a numeral 6, a 'false' sextuplet (Baker 1895, 177; Lobe 1881, 36; Shedlock 1876, 62). Still others, on the contrary, define the sextuplet precisely and solely as the double triplet (Stainer and Barrett 1876, 395; Sembos 2006, 86), and a few more, while accepting the distinction, contend that the true sextuplet has no internal subdivisions—only the first note of the group should be accented (Riemann 1884, 134; Taylor 1879–89, 3:478; Taylor 2001).

Compound meter[edit]

In compound meter, even-numbered tuplets can indicate that a note value is changed in relation to the dotted version of the next higher note value. Thus, two dupleteighth notes (most often used in ⁶
₈meter) take the time normally totaled by three eighth notes, equal to a dotted quarter note. Four quadruplet (or quartole) eighth notes would also equal a dotted quarter note. The duplet eighth note is thus exactly the same duration as a dotted eighth note, but the duplet notation is far more common in compound meters (Jones 1974, 20).

A duplet in compound time is more often written as 2:3 (a dotted quarter note split into two duplet eighth notes) than 2:​1¹⁄₂ (a dotted quarter note split into two duplet quarter notes), even though the former is inconsistent with a quadruplet also being written as 4:3 (a dotted quarter note split into four quadruplet eighth notes) (Anon. 1997–2000).

Nested tuplets[edit]

On occasion, tuplets are used 'inside' tuplets. These are referred to as nested tuplets.

Counting[edit]

Tuplets can produce rhythms such as the hemiola or may be used as polyrhythms when played against the regular duration. They are extrametricrhythmic units. The example below shows sextuplets in quintuplet time.

2.2.2.2 Server

Tuplets may be counted, most often at extremely slow tempos, using the least common multiple (LCM) between the original and tuplet divisions. For example, with a 3-against-2 tuplet (triplets) the LCM is 6. Since 6 ÷ 2 = 3 and 6 ÷ 3 = 2 the quarter notes fall every three counts (overlined) and the triplets every two (underlined):

This is fairly easily brought up to tempo, and depending on the music may be counted in tempo, while 7-against-4, having an LCM of 28, may be counted at extremely slow tempos but must be played intuitively ('felt out') at tempo:

To play a half-note (minim) triplet accurately in a bar of ⁴
₄, count eighth-note triplets and tie them together in groups of four

With a stress on each target note, one would count: 1 – 2 – 3 1 – 2 – 3 1 – 2 – 3 1 – 2 – 3 1The same principle can be applied to quintuplets, septuplets, and so on.

Quadruplet figure in drumming[edit]

In drumming, 'quadruplet' refers to one group of three sixteenth-note triplets 'with an extra [non-tuplet eighth] note added on to the end', thus filling one beat in ⁴
₄ time (Peckman 2007, 127–28), with four notes of unequal value. Shown below is a 'quadruplet' with each note on a different drum in a kit used as a fill (Peckman 2007, 129)

See also[edit]

References[edit]

• Anon. 1997–2000. 'Music Notation Questions Answered'. Graphire Corporation, Graphire.com (Accessed 10 May 2013).
• Baker, Theodore (ed.). 1895. A Dictionary of Musical Terms. New York: G. Schirmer.
• Cooper, Paul. 1973. Perspectives in Music Theory: An Historical-Analytical Approach. New York: Dodd, Mead. ISBN0-396-06752-2.
• Cunningham, Michael G. 2007. Technique for Composers. Bloomington, Indiana: AuthorHouse. ISBN1-4259-9618-3.
• Damour, Antoine, Aimable Burnett, and Élie Elwart. 1838. Études élémentaires de la musique: depuis ses premières notions jusqu'à celles de la composition: divisées en trois parties: Connaissances préliminaires. Méthode de chant. Méthode d'harmonie. Paris: Bureau des Études élémentaires de la musique.
• Donato, Anthony. 1963. Preparing Music Manuscript. Englewood Cliffs, NJ: Prentice-Hall, Inc. Unaltered reprint, Westport, Conn.: Greenwood Press, 1977 ISBN0-8371-9587-X.
• Dunstan, Ralph. 1925. A Cyclopædic Dictionary of Music. 4th ed. London: J. Curwen & Sons, 1925. Reprint. New York: DaCapo Press, 1973.
• Gehrkens, Karl W. 1921. Music Notation and Terminology. New York and Chicago: The A. S. Barnes Company.
• Hubbard, William Lines. 1924. Musical Dictionary, revised and enlarged edition. Toledo: Squire Cooley Co. Reprinted as The American History and Encyclopedia of Music. Whitefish, Montana: Kessinger Publishing, 2005. ISBN1-4179-0200-0.
• Humphries, Carl. 2002. The Piano Handbook. San Francisco, CA: Backbeat Books; London: Hi Marketing. ISBN0-87930-727-7.
• Jones, George Thaddeus. 1974. Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony. New York, Hagerstown, San Francisco, London: Barnes & Noble Books. ISBN0-06-460137-4.
• Kastner, Jean-Georges. 1838. Tableaux analytiques et résumé général des principes élémentaires de musique. Paris.
• Lobe, Johann Christian. 1881. Catechism of Music, new and improved edition, edited and revised from the 20th German edition by John Henry Cornell, translated by Fanny Raymond Ritter. New York: G. Schirmer. (First edition of English translation by Fanny Raymond Ritter. New York: J. Schuberth 1867.)
• Kennedy, Michael. 1994. 'Irregular Rhythmic Groupings. (Duplets, Triplets, Quadruplets)'. Oxford Dictionary of Music, second edition, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. ISBN0-19-869162-9.
• Köhler, Louis. 1858. Systematische Lehrmethode für Clavierspiel und Musik: Theoretisch und praktisch, 2 vols. Leipzig: Breitkopf und Härtel.
• Latham, Alison (ed.). 2002. 'Sextuplet [sextolet]'. The Oxford Companion to Music. Oxford and New York: Oxford University Press. ISBN0-19-866212-2.
• Marx, Adolf Bernhard. 1853. Universal School of Music, translated from the fifth edition of the original German by August Heinrich Wehrhan. London.
• Peckman, Jon. 2007. Picture Yourself Drumming: Step-by-Step Instruction for Drum Kit Setup, Reading Music, Learning from the Pros, and More. Boston, MA: Thomson Course Technology. ISBN1-59863-330-9.
• Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Alleyn and Bacon, Inc. Second edition, Boston: Alleyn and Bacon, Inc., 1969., reprinted as A Crescendo Book, New York: Taplinger Pub. Co., 1979. ISBN0-8008-5459-4 (cloth), ISBN0-8008-5453-5 (pbk).
• Riemann, Hugo. 1884. Musikalische Dynamik und Agogik: Lehrbuch der musikalischen Phrasirung auf Grund einer Revision der Lehre von der musikalischen Metrik und Rhythmik. Hamburg: D. Rahter; St. Petersburg: A. Büttner; Leipzig: Fr. Kistnet.
• Schonbrun, Marc. 2007. The Everything Music Theory Book: A Complete Guide to Taking Your Understanding of Music to the Next Level. The Everything Series. Avon, Mass.: Adams Media. ISBN1-59337-652-9.
• Sembos, Evangelos C. 2006. Principles of Music Theory: A Practical Guide, second edition. Morrisville, NC: Lulu Press, Inc. ISBN1-4303-0955-5.
• Shedlock, Emma L. 1876. A Trip to Music-Land: An Allegorical and Pictorial Exposition of the Elements of Music. London, Glasgow, and Edinburgh: Blackie & Son.
• Stainer, John, and William Alexander Barrett. 1876. A Dictionary of Musical Terms. London: Novello, Ewer and Co.
• Taylor, Franklin. 1879–89. 'Sextolet'. A Dictionary of Music and Musicians (A.D. 1450–1883) by Eminent Writers, English and Foreign, 4 vols, edited by Sir George Grove, 3:478. London: Macmillan and Co.
• Taylor, Franklin. 2001. 'Sextolet, Sextuplet.' The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Troeger, Richard (2003). Playing Bach on the Keyboard: A Practical Guide. Pompton Plains, New Jersey: Amadeus Press. p. 172. ISBN1574670840. OCLC52424125.CS1 maint: ref=harv (link)

Further reading[edit]

• Baker, Theodore, Nicolas Slonimsky, and Laura Dine Kuhn. 1995. Schirmer Pronouncing Pocket Manual of Musical Terms. New York: Schirmer Books. ISBN0-8256-7223-6.

Summary

The narrator bids us listen and declares that 'Billy Pilgrimhas come unstuck in time.' Billy travels randomly through the momentsof his life without control over his chronological destination.Born in 1922 in Ilium, New York, Billy growsup a funny-looking weakling. He graduates high school and trainsto be an optometrist before being drafted. After his military servicein Germany, he suffers from a nervous collapse and is treated withshock therapy. He recovers, marries, has two children, and becomesa wealthy optometrist.

In 1968, Billy survives a planecrash in Vermont; as he is recuperating, his wife dies in an accident.After returning home, Billy goes on a radio show in New York Cityto talk about his abduction by aliens in 1967. Histwenty-one-year-old daughter, Barbara, discovers his proselytizingand brings him home, concerned for his sanity. The following month,Billy writes a letter to his local paper about the aliens.

Some numbers are used inconsistently: for example septuplets (septolets or septimoles) usually indicate 7 notes in the duration of 4—or in compound meter 7 for 6—but may sometimes be used to mean 7 notes in the duration of 8 (Read 1964, 183–84). Thus, a septuplet lasting a whole note can be written with either quarter notes (7:4) or eighth notes (7:8).

To avoid ambiguity, composers sometimes write the ratio explicitly instead of just a single number. This is also done for cases like 7:11, where the validity of this practice is established by the complexity of the figure. A French alternative is to write pour ('for') or de ('of') in place of the colon, or above the bracketed 'irregular' number (Read 1964, 219–21). This reflects the French usage of, for example, 'six-pour-quatre' as an alternative name for the sextolet (Damour, Burnett, and Elwart 1838, 79; Hubbard 1924, 480).

There are disagreements about the sextuplet (pronounced with stress on the first syllable, according to Baker 1895, 177)—which is also called sestole, sestolet, sextole, or sextolet (Baker 1895, 177; Cooper 1973, 32; Latham 2002; Shedlock 1876, 62, 68, 87, 93; Stainer and Barrett 1876, 395; Taylor 1879–89; Taylor 2001). This six-part division may be regarded either as a triplet with each note divided in half (2 + 2 + 2)—therefore with an accent on the first, third, and fifth notes—or else as an ordinary duple pattern with each note subdivided into triplets (3 + 3) and accented on both the first and fourth notes. This is indicated by the beaming in the example below.

Some authorities treat both groupings as equally valid forms (Damour, Burnett, and Elwart 1838, 80; Köhler 1858, 2:52–53; Latham 2002; Marx 1853, 114; Read 1964, 215), while others dispute this, holding the first type to be the 'true' (or 'real') sextuplet, and the second type to be properly a 'double triplet', which should always be written and named as such (Kastner 1838, 94; Riemann 1884, 134–35; Taylor 1879–89, 3:478). Some go so far as to call the latter, when written with a numeral 6, a 'false' sextuplet (Baker 1895, 177; Lobe 1881, 36; Shedlock 1876, 62). Still others, on the contrary, define the sextuplet precisely and solely as the double triplet (Stainer and Barrett 1876, 395; Sembos 2006, 86), and a few more, while accepting the distinction, contend that the true sextuplet has no internal subdivisions—only the first note of the group should be accented (Riemann 1884, 134; Taylor 1879–89, 3:478; Taylor 2001).

Compound meter[edit]

In compound meter, even-numbered tuplets can indicate that a note value is changed in relation to the dotted version of the next higher note value. Thus, two dupleteighth notes (most often used in ⁶
₈meter) take the time normally totaled by three eighth notes, equal to a dotted quarter note. Four quadruplet (or quartole) eighth notes would also equal a dotted quarter note. The duplet eighth note is thus exactly the same duration as a dotted eighth note, but the duplet notation is far more common in compound meters (Jones 1974, 20).

A duplet in compound time is more often written as 2:3 (a dotted quarter note split into two duplet eighth notes) than 2:​1¹⁄₂ (a dotted quarter note split into two duplet quarter notes), even though the former is inconsistent with a quadruplet also being written as 4:3 (a dotted quarter note split into four quadruplet eighth notes) (Anon. 1997–2000).

Nested tuplets[edit]

On occasion, tuplets are used 'inside' tuplets. These are referred to as nested tuplets.

Counting[edit]

Tuplets can produce rhythms such as the hemiola or may be used as polyrhythms when played against the regular duration. They are extrametricrhythmic units. The example below shows sextuplets in quintuplet time.

2.2.2.2 Server

Tuplets may be counted, most often at extremely slow tempos, using the least common multiple (LCM) between the original and tuplet divisions. For example, with a 3-against-2 tuplet (triplets) the LCM is 6. Since 6 ÷ 2 = 3 and 6 ÷ 3 = 2 the quarter notes fall every three counts (overlined) and the triplets every two (underlined):

This is fairly easily brought up to tempo, and depending on the music may be counted in tempo, while 7-against-4, having an LCM of 28, may be counted at extremely slow tempos but must be played intuitively ('felt out') at tempo:

To play a half-note (minim) triplet accurately in a bar of ⁴
₄, count eighth-note triplets and tie them together in groups of four

With a stress on each target note, one would count: 1 – 2 – 3 1 – 2 – 3 1 – 2 – 3 1 – 2 – 3 1The same principle can be applied to quintuplets, septuplets, and so on.

Quadruplet figure in drumming[edit]

In drumming, 'quadruplet' refers to one group of three sixteenth-note triplets 'with an extra [non-tuplet eighth] note added on to the end', thus filling one beat in ⁴
₄ time (Peckman 2007, 127–28), with four notes of unequal value. Shown below is a 'quadruplet' with each note on a different drum in a kit used as a fill (Peckman 2007, 129)

See also[edit]

References[edit]

• Anon. 1997–2000. 'Music Notation Questions Answered'. Graphire Corporation, Graphire.com (Accessed 10 May 2013).
• Baker, Theodore (ed.). 1895. A Dictionary of Musical Terms. New York: G. Schirmer.
• Cooper, Paul. 1973. Perspectives in Music Theory: An Historical-Analytical Approach. New York: Dodd, Mead. ISBN0-396-06752-2.
• Cunningham, Michael G. 2007. Technique for Composers. Bloomington, Indiana: AuthorHouse. ISBN1-4259-9618-3.
• Damour, Antoine, Aimable Burnett, and Élie Elwart. 1838. Études élémentaires de la musique: depuis ses premières notions jusqu'à celles de la composition: divisées en trois parties: Connaissances préliminaires. Méthode de chant. Méthode d'harmonie. Paris: Bureau des Études élémentaires de la musique.
• Donato, Anthony. 1963. Preparing Music Manuscript. Englewood Cliffs, NJ: Prentice-Hall, Inc. Unaltered reprint, Westport, Conn.: Greenwood Press, 1977 ISBN0-8371-9587-X.
• Dunstan, Ralph. 1925. A Cyclopædic Dictionary of Music. 4th ed. London: J. Curwen & Sons, 1925. Reprint. New York: DaCapo Press, 1973.
• Gehrkens, Karl W. 1921. Music Notation and Terminology. New York and Chicago: The A. S. Barnes Company.
• Hubbard, William Lines. 1924. Musical Dictionary, revised and enlarged edition. Toledo: Squire Cooley Co. Reprinted as The American History and Encyclopedia of Music. Whitefish, Montana: Kessinger Publishing, 2005. ISBN1-4179-0200-0.
• Humphries, Carl. 2002. The Piano Handbook. San Francisco, CA: Backbeat Books; London: Hi Marketing. ISBN0-87930-727-7.
• Jones, George Thaddeus. 1974. Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony. New York, Hagerstown, San Francisco, London: Barnes & Noble Books. ISBN0-06-460137-4.
• Kastner, Jean-Georges. 1838. Tableaux analytiques et résumé général des principes élémentaires de musique. Paris.
• Lobe, Johann Christian. 1881. Catechism of Music, new and improved edition, edited and revised from the 20th German edition by John Henry Cornell, translated by Fanny Raymond Ritter. New York: G. Schirmer. (First edition of English translation by Fanny Raymond Ritter. New York: J. Schuberth 1867.)
• Kennedy, Michael. 1994. 'Irregular Rhythmic Groupings. (Duplets, Triplets, Quadruplets)'. Oxford Dictionary of Music, second edition, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. ISBN0-19-869162-9.
• Köhler, Louis. 1858. Systematische Lehrmethode für Clavierspiel und Musik: Theoretisch und praktisch, 2 vols. Leipzig: Breitkopf und Härtel.
• Latham, Alison (ed.). 2002. 'Sextuplet [sextolet]'. The Oxford Companion to Music. Oxford and New York: Oxford University Press. ISBN0-19-866212-2.
• Marx, Adolf Bernhard. 1853. Universal School of Music, translated from the fifth edition of the original German by August Heinrich Wehrhan. London.
• Peckman, Jon. 2007. Picture Yourself Drumming: Step-by-Step Instruction for Drum Kit Setup, Reading Music, Learning from the Pros, and More. Boston, MA: Thomson Course Technology. ISBN1-59863-330-9.
• Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Alleyn and Bacon, Inc. Second edition, Boston: Alleyn and Bacon, Inc., 1969., reprinted as A Crescendo Book, New York: Taplinger Pub. Co., 1979. ISBN0-8008-5459-4 (cloth), ISBN0-8008-5453-5 (pbk).
• Riemann, Hugo. 1884. Musikalische Dynamik und Agogik: Lehrbuch der musikalischen Phrasirung auf Grund einer Revision der Lehre von der musikalischen Metrik und Rhythmik. Hamburg: D. Rahter; St. Petersburg: A. Büttner; Leipzig: Fr. Kistnet.
• Schonbrun, Marc. 2007. The Everything Music Theory Book: A Complete Guide to Taking Your Understanding of Music to the Next Level. The Everything Series. Avon, Mass.: Adams Media. ISBN1-59337-652-9.
• Sembos, Evangelos C. 2006. Principles of Music Theory: A Practical Guide, second edition. Morrisville, NC: Lulu Press, Inc. ISBN1-4303-0955-5.
• Shedlock, Emma L. 1876. A Trip to Music-Land: An Allegorical and Pictorial Exposition of the Elements of Music. London, Glasgow, and Edinburgh: Blackie & Son.
• Stainer, John, and William Alexander Barrett. 1876. A Dictionary of Musical Terms. London: Novello, Ewer and Co.
• Taylor, Franklin. 1879–89. 'Sextolet'. A Dictionary of Music and Musicians (A.D. 1450–1883) by Eminent Writers, English and Foreign, 4 vols, edited by Sir George Grove, 3:478. London: Macmillan and Co.
• Taylor, Franklin. 2001. 'Sextolet, Sextuplet.' The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Troeger, Richard (2003). Playing Bach on the Keyboard: A Practical Guide. Pompton Plains, New Jersey: Amadeus Press. p. 172. ISBN1574670840. OCLC52424125.CS1 maint: ref=harv (link)

Further reading[edit]

• Baker, Theodore, Nicolas Slonimsky, and Laura Dine Kuhn. 1995. Schirmer Pronouncing Pocket Manual of Musical Terms. New York: Schirmer Books. ISBN0-8256-7223-6.

Summary

The narrator bids us listen and declares that 'Billy Pilgrimhas come unstuck in time.' Billy travels randomly through the momentsof his life without control over his chronological destination.Born in 1922 in Ilium, New York, Billy growsup a funny-looking weakling. He graduates high school and trainsto be an optometrist before being drafted. After his military servicein Germany, he suffers from a nervous collapse and is treated withshock therapy. He recovers, marries, has two children, and becomesa wealthy optometrist.

In 1968, Billy survives a planecrash in Vermont; as he is recuperating, his wife dies in an accident.After returning home, Billy goes on a radio show in New York Cityto talk about his abduction by aliens in 1967. Histwenty-one-year-old daughter, Barbara, discovers his proselytizingand brings him home, concerned for his sanity. The following month,Billy writes a letter to his local paper about the aliens.

The day the letter is published, Billy is hard at workon his second letter to the Ilium newspaper about lessons he learnedwhen he was taken to the planet Tralfamadore. He is glowing withthe expectation that his letter will console many people by explainingthe true nature of time. Barbara is distraught by his behavior.She arrives at his house with newspaper in hand, unable to get Billyto talk sense.

Billy describes his entry into the army, his trainingas a chaplain's assistant in South Carolina, and his dazed trekbehind enemy lines after the disastrous Battle of the Bulge in WorldWar II. After the battle, Billy falls in with three other Americansoldiers, two of whom are scouts and capable soldiers. The one whois not, the antitank gunner Roland Weary, is a cruel, insecure manwho saves Billy's life repeatedly in acts that he thinks will makehim a hero.

Billy first time-shifts as he leans against a tree ina Luxembourg forest. He has fallen behind the others and has littlewill to continue. He swings through the extremes of his life: theviolet light of death, the red light of pre-birth. He is then asmall boy being thrown into the deep end of the YMCA swimmingpool by his father, a proponent of the 'sink-or-swim' method.

Billy time-travels to 1965. Heis now forty-one years old and visiting his mother in a nursinghome. He blinks and finds himself at a Little League banquet forhis son, Robert, in 1958. He blinks again andopens his eyes at a party in 1961, cheatingon his wife. Messily drunk, he passes out and wakes up again behindenemy lines. Roland Weary is shaking him awake.