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30

Go for a walk. Count each step, in twos or fours. Tread heavier on the ones. One two One two One two One two One two three four One two three four They feel different, don't they? This is the difference. And yet there is an equivalence between them. Walk at the same tempo, but count to four twice as fast, so you're stepping on the One and the three. One ...


15

"Crotchet" is the British term for quarter note. A "Minim" is a half note and a "quaver" is an eighth note. 3/4 is a time signature. More specifically, it is simple, triple time. The top number in this time signature indicates that there are three beats in each measure. The bottom number (below the slash) means that one beat is defined as a quarter note, ...


12

The other answers are all essentially correct, but I think a critical point is missing. There aren't just fully "strong" and fully "weak" beats; there are also beats of medium strength (and other varieties). 4/4 is emphasized like this: ONE two three four Note the half-accent on the third beat, different from what slim mentioned. If you're playing ...


9

You can call it a polyrhythm or polymeter beat with an artificial resolution. (lots of buzzwords there...) What it is doing is actually increasing the tension by using a 3/8 accent pattern over a 4/8 beat, giving it a sped-up effect. So if you are playing a steady 4/4 beat, switching to this would create an expectation for the listener, and hinting that ...


9

It is sometimes referred to as a dotted rhythm because the first four notes are all dotted eighth notes. I think it is popular because it's a very easy way to disrupt the normal pulse. Basically, what you are doing is overlaying a pulse that is different from the regular pulse. It works very well as a fill between sections for this same reason. If it ...


7

If a computer plays them, they are the same. However, it may influence how a human player interprets it, even if they don't know anything about what it meant historically, because all those extra beams will make the score look thicker, less spacious, and the notes seem to be more connected. A good player should be able to find a working interpretation ...


6

Like everyone else, I would strongly suggest investing in a metronome to keep a consistent beat. In addition, practice counting along with what you are playing. When it comes down to it, though, being able to count a consistent quarter-note (for example) is only a part of the problem, and using a metronome set to the quarter-note will really only ensure ...


6

I think the progression of 2&4 accents in Western (American) popular music probably starts with Swing, Jazz, Big Band where the drummers emphasized these beats and played 2 & 4 with the High Hat. Next I think this moved over to the snare drum in very early Rock n' Roll and Blues. Once it was on the snare drum, virtually all styles of American ...


6

I'm going to aim for simple and scientific here, though I will say melody is far more than I can write here or in any book. There's a minor misunderstanding here, because Melody is the combination of line and rhythm. (and arguably harmony also) The 3 concepts to concern yourself with in a Melody are Line, Rhythm and Harmony Let's remove/ignore harmony to ...


5

As far as I know, the experts say this all has to do with psychology, sensory perception and cognition, and not physiology. This is a question about the intersection of psychology and music, and even the discipline known as "music therapy". There has been a lot of research done on this sort of thing in recent years and a lot of books published on it, but ...


5

I don't play drums but I had a similar experience when I was learning electric guitar. I'm a bit confused about what you imply when you say 'failed' but I'm assuming you mean you just couldn't come up with original, engaging ideas. The truth is, there is no real originality when it comes to music. We can be pretty certain the most good drum lines have been ...


4

If your song is at 83bpm then seeing your metronome at 83bpm will mean you have the right tempo. What I think your question is getting at is starting correctly on the beat, correct? If so, the usual process is to have your metronome started first so you can come in correctly, for example you could let it run for for bars and then jump inti the fifth bar. ...


4

The drumloop you hear on the track that you've mentioned is a chopped/edited version of an 'Amen beat'. Find a refill for Reason with a bunch of REX Amenloops and then mess around. It is common to remove the snare drum and the kick drum from the original loop and add your own kick and snare in place. (This is definitely the case in the song you mentioned). ...


4

First of all, you should buy a good metronome. Then practise with the metronome. Start moderately slow and turn it up in small steps. Do this with for some time with different songs/pieces and after a while you will notice that you get better at keeping time. In my experience there are only very few people that are completely "time-deaf".


4

Well, the tiny hairlike structures in your cochlea transmit impulses through the vestibocochlear cranial nerve to your cerebral cortex, then some stuff happens that we don't fully understand yet, but you experience it as sound and link it emotionally to similar experiences in your past. The only real exception I can think of is if the music you are listening ...


3

You're on the right track, but there are some slight modifications I'd make to what you said. Rhythm is a component of a melody. A melody is a sequence of pitches with certain durations. The duration aspect is the rhythm. But rhythm need not refer to a melody. Because not every musical sound is a melody. (Also, what exactly constitutes a melody vs. a ...


3

I suggest that you get a good metronome (I like ones with a dial instead of buttons). But don't "start slow and then slowly speed up"! At least not yet. That will be good for new things later on, but first you need to re-learn you existing pieces. And it'll be easier on your nerves to do it at tempo (you've already learned the thing, right?). Instead of ...


2

Get a metronome, or better still something that can play you drum patterns. Some multi-fx pedals have some preset drum patterns. Used drum machines can be bought fairly cheaply. A couple of advantages of a drum pattern over a metronome click: You can pick a pattern that fits the piece you're practising (on the down side, you can pick a pattern that's a ...


2

It's all about the feel in the music. Sometimes it really doesn't matter, and it is very difficult to say what is more natural. But often you have distinguised beat at the first in each measure. If it is a march, you have the first beat on the right foot when marching to it, and it is natural to have a 2/4. Rock music often has a beat pattern that ...


2

The underlying question, dug up from comments: [I] have an audacity track with the song and one with a generated clicktrack and want to align the 83 bpm clicktrack with the beat of the song Use Audacity's time shift tool to move the click track to begin on the first identifiable beat in the song, past its intro. Make a not of the time shift that is ...


2

When someone is following a conductor, the location of the ictus is not so important as the direction of movement of the tip. This is going to seem counterintuitive, but the direction of movement is consistent with both methods, and I've known conductors to switch back and forth with the ensemble only noticing when inspecting the video afterwards. Think ...


2

I know a measure contains a certain number beats? Yes. the number of beats is defined by the meter (http://en.wikipedia.org/wiki/Meter_(music). The time signature is a notational device defines both the meter and the unit that is used to denote the beats of the meter. http://en.wikipedia.org/wiki/Time_signature But could you relate beats with chords and ...


1

To expand a little bit on what Wheat has said, the easy way to look at time signatures such as 3/4 is to say that it means simply "three quarter notes per measure." Likewise, 6/8 is six eighth notes per measure, 4/4 four quarter notes per measure, and so on. The other concepts Wheat mentions are necessary to a full understanding of time signatures as well. ...


1

A few suggestions: The motion of plucking a string is not the same as thumb slapping. When plucking a string, the most economic way of agitating it is with a motion that is perpendicular to the string, in the same plane as the guitar top. This is how you naturally strum, and is also true when fingerpicking. Like a bow and arrow, when you pull back the ...


1

What you're describing is very close to the Afro-Cuban Clave pattern. It's a very popular motif which has found its way into many modern styles. The second example you give even has a name in Latin music: Tresillo, meaning triplet. Source: Wikipedia


1

When I am following a conductor, I want to know which beat the conductor is beating, so a clearly-defined style with each ictus decently [not, perhaps, widely] spaced is crucial. If it's possible to misread which beat of the bar the conductor has reached (because each ictus is in the same place physically), it's possible to be beautifully on-the-beat on the ...


1

There's a decent quality open source drum machine called Hydrogen that will let you prototype beats quickly and easily. You can export loops, I think, and you can also hook it up to play well with other software synths, lIke reason. There's an introductory tutorial at http://www.hydrogen-music.org/hcms/node/7. Once you have the basics of hydrogen down, ...


1

Sorry, but "one-two, one-two" would be the way I would count 2 bars of 2/2 time. I count 2/4 time as "ONE-and-TWO-and". The beat is bouncy in motion and "rocks" back and forth from one count to the next. It creates a firm downbeat and backbeat . I count 4/4 time as "ONE-two-three-four". The beat is circular in motion and "rolls" from one count to the ...



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