text:
Good Time Charlie's Got the Blues
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"Good Time Charlie's Got the Blues"
Single by Danny O'Keefe
from the album O'Keefe
B-side
"The Valentine Pieces"
Released
August 1972
Genre
Country
Length
3:01
Label
Signpost
Songwriter(s)
Danny O'Keefe
Producer(s)
Ahmet Ertegün
Danny O'Keefe singles chronology
"Good Time Charlie's Got the Blues"
(1972) "The Road"
(1972)
"Good Time Charlie's Got the Blues"
(1972) "The Road"
(1972)
"Good Time Charlie's Got the Blues" is a song written and performed by Danny O'Keefe.
It was first recorded by O'Keefe in 1967, but not released. It was recorded by The Bards and released in 1968 as the b-side to the song "Tunesmith" on Parrot Records. The Bards were a band from Moses Lake, Washington.[1] The song was recorded by O'Keefe for his self-titled debut album in 1971.[2] The following year he re-recorded it (with a slower, more downbeat arrangement) for his second album, O'Keefe.[3] The second version was issued as a single, reaching number 9 on the Billboard Hot 100 singles chart, number 5 on the adult contemporary chart, and #63 on the country chart.[4] The song was also covered by Mel Tormé, especially for a 1986 episode of NBC's Night Court entitled "Leon, We Hardly Knew Ye".
It was covered by numerous artists. A cover by Leon Russell peaked at number 63 on the Billboard Hot Country Singles chart in 1984.[5]
Charts[edit]
Chart (1972)
Peak
position
Canada RPM Top Singles[6] 19
US Billboard Hot 100[7] 9
US Billboard Adult Contemporary 5
US Cash Box Top 100 10
Selected list of recorded versions[edit]
The Bards (1968) on Parrot Records
Danny O'Keefe (1971), on the album Danny O'Keefe
Dwight Yoakam
Willie Nelson
Waylon Jennings
Mike Farris
Elvis Presley
Leon Russell
Chris Hillman
Earl Klugh on his 1978 album Magic in Your Eyes
Rita Wilson
Charlie Rich (1980), on the album Once a Drifter
Jerry Lee Lewis and Leon Russell[8]
Holly Cole, from the album Night (2012)
Harry Manx (2008), from the album Live at the Glenn Gould Studio
Mel Tormé, (1986), for a Night Court episode entitled "Leon, We Hardly Knew Ye".
Conway Twitty (1977), on the album Play,Guitar Play
Nat Stuckey (1973), on the album Take Time To Love Her
Marco T (2001), on the album Marco T. Country Colombian edition
Shooter Jennings (2016), on the album "BCR Mixtape 2016".
References[edit]
Jump up ^ http://davidneale.eu/elvis/originals/list3.html#S1218
Jump up ^ Danny O'Keefe, Danny O'Keefe Retrieved July 3, 2012.
Jump up ^ Danny O'Keefe, O'Keefe Retrieved July 3, 2012.
Jump up ^ Danny O'Keefe's "Good Time Charlie's Got the Blues Chart Positions Retrieved July 3, 2012.
Jump up ^ Whitburn, Joel (2013). Hot Country Songs 1944–2012. Record Research, Inc. p. 293. ISBN 978-0-89820-203-8.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ Joel Whitburn's Top Pop Singles 1955–1990 - ISBN 0-89820-089-X
Jump up ^ Jerry Lee Lewis, Rockin' My Life Away Retrieved July 3, 2012.
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You've Got a Friend in Me
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010) (Learn how and when to remove this template message)
"You've Got a Friend in Me"
Single by Randy Newman and Lyle Lovett
from the album Toy Story
Released
April 12, 1996[1]
Format
Cassette, CD single, digital download
Genre
Country, pop, soundtrack
Length
2:39
Label
Walt Disney
Songwriter(s)
Randy Newman
Producer(s)
Randy Newman
Randy Newman singles chronology
"It's Money That Matters" / "Falling in Love"
(1988) "You've Got a Friend in Me"
(1996) "We Belong Together"
(2010)
Lyle Lovett singles chronology
"Don't Touch My Hat"
(1996) Don't Touch My Hat1996 "You've Got a Friend in Me"
(1996) You've Got a Friend in Me1996 "Private Conversation"
(1997) Private Conversation1997
"You've Got a Friend in Me" is a song by Randy Newman. Used as the theme song for the 1995 Disney/Pixar animated film Toy Story, it has since become a major musical component for its sequels, Toy Story 2 (1999) and Toy Story 3 (2010) as well as a musical leitmotif throughout the whole Toy Story franchise. The song was nominated for both the Academy Award for Best Original Song and the Golden Globe Award for Best Original Song, but lost both to "Colors of the Wind" from Disney's Pocahontas.
Like many other Disney theme songs, "You've Got a Friend in Me" has been covered numerous times. Cover versions featured in the three Toy Story films include a duet with Newman and Lyle Lovett in Toy Story; a diegetic instance by Tom Hanks, a version by Robert Goulet and an instrumental by Tom Scott in Toy Story 2, and a Spanish language version by the Gipsy Kings in Toy Story 3.
Contents
1 In Toy Story
2 Release history
3 Cover versions
4 References
5 External links
In Toy Story[edit]
The song is played during the opening credits for Toy Story and Toy Story 3, establishing the importance of Woody and Andy in the first film and the importance of all his toys in the third. Toy Story 3 also uses it for irony and dramatic effect, as the opening credits harken back to the first film and the song abruptly fades out with "As the years go by/Our friendship will never die", before showing that Andy's remaining toys in the present day are boxed up and unused. When they were unused, Andy was 17 years old.
In the two sequels, the song is listened to by the characters as part of the story. Two of these are cover versions done at the end of the film for thematic reasons: at the end of Toy Story 2, the character Wheezy starts to sing it to the other toys; during the end credits of Toy Story 3, Buzz Lightyear and Jessie (now a couple) perform a pasodoble to a Spanish version of the song, deliberately played by Jessie to get Buzz to dance.
The most significant use of the song was in the third act of Toy Story 2, where an episode of Woody's Roundup (the 1950s puppet show he was based on) shows the puppet Woody singing the song, directed at the young audience and featuring a small child hugging the puppet. Woody sees this and has an epiphany, realizing that his mission as a toy is to be there for a child. (In-universe, the song was presumably written for Woody's Roundup.)
The Woody's Roundup version was performed by Tom Hanks, with acoustic guitar backing; Wheezy's version was sung by Robert Goulet (though the character was voiced by Joe Ranft); and the Spanish version, "You've Got a Friend in Me (Para el Buzz Español)", was performed by the Gipsy Kings.
Release history[edit]
Format
Release date
Catalog
Demo Unreleased none
Cassette April 12, 1996[1] #60367
CD
Cover versions[edit]
Michael Bublé covered "You've Got a Friend in Me" on his 2013 album, To Be Loved. The track became a U.S. Adult Contemporary chart hit, spending 14 weeks on the chart and peaking at number 10.[2]
On May 31, 2018, Rex Orange County released a cover of “You’ve Got a Friend in Me”, performing along with Randy Newman, the creator of the song.
References[edit]
^ Jump up to: a b "You've Got a Friend in Me > Overview". Allmusic. Macrovision. Retrieved 2009-07-30.
Jump up ^ [1]
External links[edit]
Best Song Academy Award Nominations - Newman
Toy Story 10th Anniversary Edition at the Wayback Machine (archived May 7, 2005), Pixar press release, May 2, 2005. (Archived from the original on May 7, 2005)
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The Oak and the Reed
From Wikipedia, the free encyclopedia
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Bernard Salomon's woodcut of "The olive tree and the reed" from a French collection of Aesop's Fables in rhyme
The Oak and the Reed is one of Aesop's Fables and is numbered 70 in the Perry Index. It appears in many versions: in some it is with many reeds that the oak converses and in a late rewritten version it disputes with a willow.
Contents
1 The story and its variants
2 Later interpretations
3 Artistic interpretations
4 Musical Versions
5 References
6 External links
The story and its variants[edit]
There are early Greek versions of this fable and a 5th-century Latin version by Avianus. They deal with the contrasting behaviour of the oak, which trusts in its strength to withstand the storm and is blown over, and the reed that 'bends with the wind' and so survives.[1] Most early sources see it as a parable about pride and humility, providing advice on how to survive in turbulent times. This in turn gave rise to various proverbs such as 'Better bend than break'[2] and 'A reed before the wind lives on, while mighty oaks do fall', the earliest occurrence of which is in Geoffrey Chaucer's Troilus and Criseyde (II.1387-9). It so happens that there is an overlap here with the old Chinese proverb 'A tree that is unbending is easily broken'. The saying originally occurred in the religious classic, the Tao Te Ching, with the commentary that 'The hard and strong will fall, the soft and weak will overcome'.[3]
A variant Greek version of the fable substituted an olive tree for the oak. The tree taunts the reed for its frailty and yielding to every wind but the reed does not answer back. The wisdom of its behaviour becomes apparent when the tree is snapped in the buffeting of a storm. Similar advice, evidence that the fable was then current among Jews, is given in the Talmud (Tanis 20b), where the saying 'Be pliable like a reed, not rigid like a cedar' is attributed to Rabbi Simeon ben Eleazar. Although the fable with an oak has prevailed over the one with an olive, a group of 16th century fabulists preferred the latter version. They include the French author Gilles Corrozet (1547)[4] and two Italians, Gabriele Faerno (1564)[5] and Giovanni Maria Verdizotti.[6] In Heinrich Steinhowel's 1479 edition of the fables a fir tree (tanne, Latin abies in bilingual editions) is the protagonist.[7] This suggests that the fable has become confused with that of The Fir and the Bramble, in which another tree that trusts in its superior qualities is bested. However, that too appears independently in Steinhowel's collection as "The Thornbush and the Fir" (Der Dornbusch und die Tanne). Ultimately all these versions refer back to the ancient genre of Near Eastern dispute poems which also included the tamarisk and the palm as disputants, and the poplar and the laurel.[8]
Among other Renaissance variants may be included the ash and the reed in the emblem book of Hadrianus Junius (1567), which cites the same situation as an example of "the patience of the triumphant mind" (l'équité de l'esprit victorieuse).[9] Laurentius Abstemius had earlier written his own variant in his Hecatomythium (1490) concerning an elm and willow (de ulmo et silere) in which the former's roots are undermined by the stream until it topples in, which points the same lesson that those who 'give way to powerful people are wiser than those who suffer a shameful defeat by trying to resist'.[10]
Later interpretations[edit]
When the fable figured in 16th century emblem books, more emphasis was put on the moral lesson to be learned, to which the story acted as a mere appendage. Thus Hadrianus Junius tells the fable in a four-line Latin poem and follows it with a lengthy commentary, part of which reads: 'By contrast we see the reed obstinately holding out against the power of cloudy storms, and overcoming the onrush of the skies, its salvation lying in no other protection than a modicum of patience. It is just the same in the case of a just and balanced spirit, which cares not for invincible strength and defeats malice and other evils by patient endurance, and achieves great riches by the acquisition of undying glory - whereas boldness more often than not has its downfall.'[11] Geoffrey Whitney borrowed Hadrianus' illustration for his own Choice of Emblemes (1586), devoting one stanza of his poem to the fable and the second to its lesson:
When Envie, Hate, Contempte, and Slaunder, rage:
Which are the stormes and tempestes of this life;
With patience then, wee must the combat wage,
And not with force resist their deadlie strife:
But suffer still, and then wee shall, in fine,
Our foes subdue, when they with shame shall pine.[12]
Achille Michallon's use of the fable refers to the fall of dynasties
Interpretations of the fable began to change after the more nuanced retelling in La Fontaine's Fables, Le chêne et le roseau (I.22). Here the oak has compassion on the reed's fragility and offers it protection, to which the reed politely replies that it has its own strategy for survival, 'I bend and do not break'. This is then put to the test when a storm breaks and brings the oak's 'head that was neighbour to the sky' on a level with the roots 'that touched the empire of the dead'.[13] Written in the autocratic time of Louis XIV of France, this was so successfully achieved that it appeared to teach the value of humility at the same time as suggesting that rulers may not be as powerful as they think themselves. So current did that sly interpretation become that Achille Etna Michallon's later painting of "The Oak and the Reed", now in the Fitzwilliam Museum (1816, see left), could easily be seen as a reference to the recent fall of the Emperor Napoleon I.
In democratic times, the conduct of the reed came to be seen as cowardly and self-serving and the fable began to be rewritten from this point of view. In Robert Dodsley's collection of 1761 it appears as "The Oak and the Willow", in which the willow challenges the oak to a trial of strength in withstanding a storm. The oak puts up a heroic fight and, after it falls, condemns the willow's conduct as mean and cowardly.[14] An 1802 American rhymed version of this draws the political conclusion even more strongly. Set 'within the commonwealth of trees', it presents the two trees as sharing in its government. When a storm 'threatens the constitution of the state', the willow cringes acquiescently while the oak goes down fighting, but will not acknowledge the willow as the ultimate victor.
I am an Oak, tho' fall'n indeed!
Thou still a vile and skulking weed,
Rais'd by no merit of thine own,
But by the blast that laid me prone.
Say, if thou canst, what plant or tree,
Except a sycophant like thee,
Devoted to intrigue and strife,
Who'd e'er prefer a dastard's life,
Preserv'd by guile and crafty saws,
To falling in a GLORIOUS CAUSE?[15]
Much the same point was made in Jean Anouilh's reinterpretation of the story in 1962. There the oak asks the reed if it doesn't find La Fontaine's fable morally detestable. The reed's answer is that the limited concerns of 'we little folk' will see them better through testing times than taking the moral high ground. When once again the oak falls in the storm, the reed jeeringly asks if he had not foreseen the outcome correctly. The tree's answer to the reed's envious hatred is simply, 'But I am still an oak'. This stems from the thinking behind another ancient emblem that appeared among the Emblesmes of Hadrianus Junius (1567). Placed before a version of "The oak and the reed" (which is there told of a rowan),[16] it pictures an oak whose branches are stripped by a gale and has the title "The disasters of princes are unlike those of ordinary folk". It is accompanied by a quatrain that concludes "The prince disaster has impoverished/ Retains the honour of his lineage."[17] Nobility of character too is the equal of high parentage.
Artistic interpretations[edit]
Since this is one of the rare fables without human or animal characters, the subject has been a gift to artists and illustrators. From the earliest printed editions, the makers of woodcuts have taken pleasure in contrasting diagonals with the verticals and horizontals of the picture space, as well as the textures of the pliable reed and the sturdy tree trunk.[18] Among 16th century emblem-makers there was even a prescription for how the scene should be presented. According to Hadrianus Junius (1565), ‘The way the picture should be drawn is straightforward: in it, one of the winds is blowing with puffed-out cheeks, breaking up the huge trees in its way, pulling them up, uprooting them and flinging them around; but a patch of reeds survives unscathed.’[11] Other contemporary examples of this approach are in Bernard Salomon's illustration in Les Fables d'Esope Phrygien (1554, see above) and the Latin poems of Hieronymus Osius (1564).[19]
Henri Coutheillas' sculpture of the fable
Some variations depend on the version of the fable that is being recorded. In the version by Samuel Croxall (1732), which was widely followed, the uprooted oak is floating downstream and enquires of a reed how it has survived the storm.[20] In George Fyler Townsend's new translation (1867), the oak has fallen across a stream and asks the same question of the reeds there.[21]
With the growing interest in landscape art, many French artists availed themselves of the fable's dramatic possibilities, including the illustrator Gustave Doré, who made two different woodcuts of a peasant struggling through stormy landscapes and another of a horseman unseated by the falling oak.[22] Achille Michallon's landscape of 1816 (of which there is also a black-and-white print)[23] is said to be inspired by the style of Jacob Ruisdael,[24] but it also has aspects of the dramatic landscapes of French Romanticism. Later examples of this include treatments of the fable by Guillaume Alphonse Harang (1814-1884)[25] and François Ignace Bonhommé (1809-1893), both dating from 1837.[26] Jules Coignet's picturesque treatment in the Musée Jean de La Fontaine, also dating from the second quarter of the 19th century, is a study of different textures of light as it falls on the windswept reeds and the foliage of the fallen oak.[27] This is dramatised even further in the Japanese woodcut version of the fable by Kajita Hanko, published at the end of the century in the Choix de Fables de La Fontaine, Illustrée par un Groupe des Meilleurs Artistes de Tokio (1894), which has an olive rather than an oak as subject.[28] Contrasting light effects are equally the subject of Henri Harpignies's sombrely coloured drawing in the Musée Jean de La Fontaine[29] and of the watercolour painted by Gustave Moreau about 1880.[30]
The turn of the century saw a statue of the subject by Henri Coutheillas exhibited in Paris. It is now in the Jardin d'Orsay in Limoges and contrasts a swaying female nude with the grizzled giant who is tumbles at her feet as he clutches a broken branch in his hand. During the 20th century there were a number of prints made by prominent artists. They include Marc Chagall's etching from his La Fontaine series (1952),[31] Roland Oudot's coloured woodcut (1961)[32] and Salvador Dalí's coloured print of 1974.[33]
Musical Versions[edit]
In the 19th century, the singer Pauline Viardot set La Fontaine's fable for piano and soprano and was accompanied by Frédéric Chopin in the concert they shared in 1842. In the 20th century the fashion was for slang versions. One of the first appeared among the seven published in 1945 by Bernard Gelval[34] which afterwards became part of the sung repertoire of the actor Yves Deniaud. It was followed in 1947 by the second volume of 15 fables célèbres racontées en argot (famous fables in slang) by 'Marcus', in which Le Chêne et le Roseau was included.[35] While this keeps fairly closely to La Fontaine's text, Pierre Perret's 1990 rap version is a looser adaptation of the fable into a series of quatrains with a refrain in between.[36] The mighty oak 'stacked like the Himalayas' talks down to the reed in its marsh where 'up there the winds whizz and down 'ere's rheumatiz' (En haut t'as le mistral en bas les rhumatismes) but his pity is rejected and the fate soon to overtake him foretold. Cartoons were eventually made of these versions and released on DVD under the title The Geometric Fables; "The oak and the reed" appeared in volume 3 of the series (Les Chiffres, 1991).
In 1965 a poetic version by Peter Westmore was included as the last piece in Edward Hughes' Songs from Aesop's Fables for children's voices and piano. Two groups from Quebec have made use of the fable more recently. The deathcore band Despised Icon recorded their version on the album Consumed by your Poison in 2002.[37] The grunted lyrics parallel La Fontaine's narrative: the reed rejects the protection offered by the oak for its own pliable behaviour. After the storm 'The one who thought himself so strong now among the dead belongs' (Celui qui se croyait si fort réside maintenant parmi les morts).[38] There is also a folk-rock adaptation by Les Cowboys Fringants recorded on their 2008 album L’Expédition.[39] The lyrics emphasise how holding to one's point of view isolates individuals but seem to recommend the reed's strategy for survival in the words of the refrain that one must 'fall to rise again' (tomber pour se relever) repeatedly.[40] Another musical interpretation of the fable is Michael Galasso's incidental music for the segment based on the fable in Robert Wilson's production of Les Fables de La Fontaine for the Comédie-Française (2004).[41]
There has also been a hip hop dance version of the fable in France choreographed for three dancers by Mourad Merzouki in 2002.[42] The piece was included in Annie Sellem’s composite project Les Fables à La Fontaine as well as performed separately and is one of the four segments from the production included in the film Les Fables à La Fontaine (2004) directed by Marie-Hélène Rebois.[43]
References[edit]
Jump up ^ "The Oak Tree And The Reed". Mythfolklore.net. Retrieved 2014-05-21.
Jump up ^ Emanuel Strauss, Concise Dictionary of European Proverbs (London 1998) #622
Jump up ^ Tao Te Ching section 76, translation by Gia-fu Feng and Jane English, London 1972; available online
Jump up ^ Les Fables d'Esope Phrygien, mises en Ryme Francoise, Fable 81
Jump up ^ Centum Fabulae, fable 50
Jump up ^ Cento favole morali (1570), p.87
Jump up ^ "ESOP, Seite 140". Uni-mannheim.de. Retrieved 2014-05-21.
Jump up ^ Jean Bottéro, "La tenson et la reféxion sur les choses en Mésopotamie, pp. 7-22
Jump up ^ Les Emblesmes", Emblem 43
Jump up ^ new version of oak and reed Fable 53
^ Jump up to: a b Emblemata (1565) Emblem 43
Jump up ^ "Page 220". Mun.ca. Retrieved 2014-05-21.
Jump up ^ "An English translation at Gutenberg". Gutenberg.org. 2008-05-06. Retrieved 2014-05-21.
Jump up ^ Denis Larionov & Alexander Zhulin. "An online version, pp.82-3". Ebooksread.com. Retrieved 2014-05-21.
Jump up ^ The Port Folio, Philadelphia 1802, Vol2, p.103; an online version is here
Jump up ^ Emblem 43
Jump up ^ Emblem 28
Jump up ^ "A selection is available on Louisa Gibbs' Flickr site". Flickr.com. Retrieved 2014-05-21.
Jump up ^ "Quercus et Harundo - Osius | Flickr - Photo Sharing!". Flickr. 2010-08-19. Retrieved 2014-05-21.
Jump up ^ Fable 50 p.106
Jump up ^ Aesop's Fables, Fable 127
Jump up ^ "La Fontaine - Galerie". Ysopet.free.fr. Retrieved 2014-05-21.
Jump up ^ Available online
Jump up ^ "The Oak and the Reed by Achille Michallon". Art Fund. Retrieved 2014-05-21.
Jump up ^ "Cat'zarts site". Retrieved 2014-05-21.
Jump up ^ "Cat'zarts site". Retrieved 2014-05-21.
Jump up ^ French Government cultural site
Jump up ^ "See this online". Retrieved 2014-05-21.
Jump up ^ French Government ciltural site
Jump up ^ "In the Musée Gustave Moreau". Retrieved 2014-05-21.
Jump up ^ "de, sur Amorosart". Amorosart.com. Retrieved 2014-05-21.
Jump up ^ "OUDOT Roland - Bois gravé original "Le chêne et le roseau" signée à la main par l'artiste : Galerie 125". Galerie125.fr. Retrieved 2014-05-21.
Jump up ^ "La Chene et le Roseau by Salvador Dali". Artbrokerage.com. 1980-01-01. Retrieved 2014-05-21.
Jump up ^ "ABC de la langue française Argot/Gelval (Bernard). 2e grand recueil de 7 fables en argot". Languefrancaise.net. 2010-12-30. Retrieved 2014-05-21.
Jump up ^ "This can be read online". Lecampement.net. Retrieved 2014-05-21.
Jump up ^ Pierre Perret discography
Jump up ^ "Available on YouTube". Youtube.com. Retrieved 2014-05-21.
Jump up ^ "The words are online". Lyricstime.com. Retrieved 2014-05-21.
Jump up ^ "Available on YouTube". Youtube.com. 2009-11-20. Retrieved 2014-05-21.
Jump up ^ "The words are online". Fr.lyrics-copy.com. Retrieved 2014-05-21.
Jump up ^ New York Times, 18 February 2004
Jump up ^ There are online excerpts on Vimeo and here [1]
Jump up ^ Arte TV archive
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Ledger line
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For other uses, see Ledger line (tombstone).
Notes in ledger lines above the staff. The four notes on the right might, for some instruments, be considered too far above the staff and written, instead, in 8va notation.
A ledger line or leger line is used in Western musical notation to notate pitches above or below the lines and spaces of the regular musical staff. A line slightly longer than the note head is drawn parallel to the staff, above or below, spaced at the same distance as the lines within the staff (see Figure 1).
The origin of the word is uncertain, but may have been borrowed attributively from the term for a horizontal timber in a scaffolding, lying parallel to the face of the building and supporting the putlogs. There is no basis to support the often-found claim that the word originates from the French léger, meaning "light" or "slight" (OED 2005). The Oxford online dictionary describes the origin of the "leger" spelling as a "variant of ledger" that first appeared in the 19th century (Oxford Living Dictionary n.d.).
Although ledger lines are found occasionally in manuscripts of plainchant and early polyphony, it was only in the early 16th century in keyboard music that their use became at all extensive (Anon. 2001). Even then printers had an aversion to ledger lines which caused difficulties in setting type, wasting space on the page and causing a messy appearance. Vocal music employed a variety of different clefs to keep the range of the part on the staff as much as possible; in keyboard notation a common way of avoiding ledger lines was the use of "open score" on four staves with different clefs (Godwin 1974, 16–17).
Except for woodwind players, who prefer ledger lines to 8va notation because they associate fingerings with staff positions (Shatzkin 1993, 48), notes that use at least four ledger lines make music more difficult to read.[citation needed] For easier readability, the composer would usually switch clefs or use the 8va notation. Some transposing instruments, such as the piccolo, double bass, guitar, and the tenor voice, transpose at the octave to avoid ledger lines.
Notation of tuba, trombone, and euphonium parts always use ledger lines below the bass staff, and never the 8va bassa notation (Read 1969, 354).
When music for bass clef instruments, such as the cello or trombone, goes several ledger lines above the bass clef, the tenor clef is used; if it were to go even higher than practical in tenor clef, the notes may be notated in treble clef, or in the case of trombone, alto clef.[citation needed]
A ledger line is also used to support a half rest or whole rest where there are multiple voices on one staff and such a rest is forced above or below the staff. (The rare double whole rest is suspended between two ledger lines in this situation.)
References[edit]
Anon. 2001. "Leger [Ledger] Line". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Godwin, Joscelyn. 1974. "Playing from Original Notation". Early Music 2, no. 1 (January): 15–19.
Oxford English Dictionary. 2005. "Ledger, n.B.I.3". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK public library membership required.)
Oxford Living Dictionary (n.d.). "leger line". Oxford Living Dictionaries. Oxford University Press. Retrieved 12 March 2017.
Read, Gardner. 1969. Music Notation: A Manual of Modern Practice, second edition. Boston: Allyn and Bacon. Reprinted, New York: Taplinger Publishing Company, 1979.
Shatzkin, Merton. 1993. Writing for the Orchestra: An Introduction to Orchestration. Upper Saddle River, NJ: Prentice Hall. ISBN 9780139534317.
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Manual of the Planes
From Wikipedia, the free encyclopedia
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This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (March 2017) (Learn how and when to remove this template message)
Manual of the Planes
Manual of the Planes, for 1st Edition AD&D
Author
Jeff Grubb
Genre
Role-playing game
Publisher
TSR
Publication date
1987
Media type
Print (Hardback)
The Manual of the Planes (abbreviated MoP[1]) is a manual for the Dungeons and Dragons role-playing game. This text addresses the planar cosmology of the game universe.
The original book (for use with Advanced Dungeons & Dragons 1st Edition) was published in 1987 by TSR, Inc.[2] For 2nd Edition, concern over inclusion of angels and demons led TSR to forgo the release, though they compensated years later with the Planescape campaign setting. A third edition version of the Manual of the Planes was published in 2001 by Wizards of the Coast, while a new version for 4th Edition debuted in 2008.
Contents
[hide]
1 Advanced Dungeons & Dragons first edition
2 Dungeons & Dragons 3rd edition
3 Dungeons & Dragons 4th edition
4 Legacy
5 References
6 Bibliography
7 External links
Advanced Dungeons & Dragons first edition[edit]
The original Manual of the Planes was written by Jeff Grubb, with a cover by Jeff Easley and interior illustrations by Stephen Fabian with Easley, and was published by TSR in 1987 as a 128-page hardcover.[3] Easley's cover featured an illustration of a creature named in the book as an "ethereal dreadnought", although the book had no description or game statistics for the creature.[4] This creature was later identified in 2nd edition as an astral dreadnought.
The book describes various planes of existence, and what creatures characters might encounter there, covering the astral and ethereal planes, the elemental places, and the outer planes.[3] The book also details how to survive in the planes, and how combat and magic differ under each plane's special conditions. The Ethereal Plane, The Inner Planes—including the Plane of Elemental Air, the Plane of Elemental Fire, the Plane of Elemental Earth, and the Plane of Elemental Water, the Para-Elemental Planes (Smoke, Magma, Ooze, and Ice), the Energy Planes (Positive Energy and Negative Energy), and the Quasi-Elemental Planes (Lightning, Radiance, Minerals, Steam, Vacuum, Ash, Dust, and Salt) -- and the Astral Plane. After these planes, the Outer Planes are briefly described, including Nirvana, Arcadia, Seven Heavens, Twin Paradises, Elysium, Happy Hunting Grounds, Olympus, Gladsheim, Limbo, Pandemonium, The Abyss, Tarterus, Hades, Gehenna, The Nine Hells, Acheron, and Concordant Opposition. Manual of the Planes explains how each of the outer planes is related to each of the character alignments. For example, "The Seven Heavens" is the final resting place for characters of Lawful Good alignment.
Dungeons & Dragons 3rd edition[edit]
Manual of the Planes
Manual of the Planes for D&D version 3.
Author
Jeff Grubb, Bruce R. Cordell, and David Noonan
Genre
Role-playing game
Publisher
Wizards of the Coast
Publication date
September 2001
Media type
Print (Hardback)
Pages
224
ISBN
0-7869-1850-0
The third edition Manual of the Planes was designed by Jeff Grubb, Bruce R. Cordell, and David Noonan. Cover art is by Arnie Swekel, with interior art by Matt Cavotta, Monte Moore, Wayne Reynolds, Darrell Riche, David Roach, and Arnie Swekel.
After the typical introduction found in almost all guides of D&D 3rd. Edition, Manual of the Planes presents, in its first chapter, an overview of planes in general: what they are, what their nature is, and what is their function on gameplay. Info about how to shift between planes is also available in this chapter.
The second chapter presents hints on how to design your own cosmology of planes, based on the D&D official cosmology known as "The Great Wheel". Generating a personalized cosmology involves several options—for example, consider how magic works if basic planes that feed magic (such as the Ethereal or Astral planes) are disposed of.
The next chapters in the Manual are dedicated to detail the Great Wheel and the 27 planes that constitute it, including the Inner Planes and the Outer Planes.
Manual of the Planes won the 2002 Ennie Award for "Best Rules Supplement".[5]
Dungeons & Dragons 4th edition[edit]
Manual of the Planes
Author
Richard Baker, John Rogers, Robert J. Schwalb, and James Wyatt
Genre
Role-playing game
Publisher
Wizards of the Coast
Publication date
2008
Media type
Print (Hardback)
This book was designed by Richard Baker (lead), John Rogers, Robert J. Schwalb, and James Wyatt. Cover art is by Howard Lyon, with interior art by Rob Alexander, Dave Allsop, Steve Belledin, Zoltan Boros & Gabor Szikszai, Chippy, Daarken, Eric Deschamps, Steve Ellis, Jason Engle, Ralph Horsley, Howard Lyon, Warren Mahy, Torstein Nordstrand, William O'Connor, Lucio Parillo, Anne Stokes, Francis Tsai, and Franz Vohwinkel. The 4th Edition Manual of the Planes reinvented the cosmology into a streamlined arrangement called the World Axis cosmology.[6] It consists of five core types of planes:
1. The Mortal World.
2. The Parallel Planes - Two planes that are linked to the Mortal World.
Feywild (Plane of Faerie).
Shadowfell (Plane of Shadow).
3. Fundamental Planes - Two planes that surround the Mortal World.
The Astral Sea - The plane above. Consists of Astral Dominions.
The Elemental Chaos - The plane below. Consists of Elemental Realms.
4. Demiplanes - Unique bubbles of existence such as Sigil.
5. Anomalous Planes - Planes of an obscure nature.
The Far Realm - Uncharted plane that exists beyond the known cosmology.
The Plane of Dreams - Composed of all the dreams that have ever been dreamt.
Legacy[edit]
The monster on the cover art for the Manual of the Planes, the Astral dreadnought, is the inspiration for the Cacodemon in the DOOM video game series.
References[edit]
Jump up ^ "Dungeons & Dragons FAQ". Wizards of the Coast. Archived from the original on April 6, 2010. Retrieved October 3, 2008.
Jump up ^ Grubb, Jeff (1987). Manual of the Planes. TSR, Inc. ISBN 0-88038-399-2.
^ Jump up to: a b Schick, Lawrence (1991). Heroic Worlds: A History and Guide to Role-Playing Games. Prometheus Books. p. 106. ISBN 0-87975-653-5.
Jump up ^ Grubb, Jeff. Manual of the Planes (TSR, 1987)
Jump up ^ 2002 Noms and Winners - ENnie Awards
Jump up ^ Baker, Richard, John Rogers, Robert J. Schwalb, and James Wyatt. Manual of the Planes (Wizards of the Coast, December 2008)
Bibliography[edit]
Grubb, Jeff; Noonan, David; Cordell, Bruce R. (2001). Manual of the Planes (3rd ed.). Wizards of the Coast. ISBN 0-7869-1850-0. Archived from the original on May 7, 2008.
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