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13

It is a Major triad built on the lowered 2nd scale degree. It's usually in first inversion, hence the "6th" part of the name. So if I'm in C-minor, the Neapolitan 6th (sometimes analyzed as N6 or bII6) would be a Db-major triad, probably with the F in the bass. They are chromatic harmonies, and their primary function is to go to V. EDITED TO ADD: There is a ...


11

Writing lyrics is like anything else. You have to practice and practice at it to get good. Some people might be naturally better at it, but that doesn't mean that you can't get that good. A good way to practice is to start reading and writing poetry, because in essence lyrics are just poetry. Study the forms and structures of poetry and you will be one step ...


10

This depends on the circumstances, but I would suggest it is more common to write no key signature (or the best closest match like "F" if all B tends to be Bb.) especially in the case of changes that last only a few measures. Here are my reasons: 1) It's not normal for jazz music to include alot of key changes written as new key signatures. This will happen ...


9

Let's first define Musique Concrète as: Music crafted from the manipulation of recorded sounds. You can find more in-depth definitions here and here. Where to start? Before we can manipulate sounds, we need to record them. Grab a mic and start recording whatever sound you find interesting. Falling stones, water, voices, rain, cars, wood, strings, ...


9

Schoenberg is talking about the difference between just intonation (which he refers to as "natural semi-tones") and 12-tone equal temperament (which he refers to as "tempered" semi-tones). This is a complicated subject. You can find several long posts about this subject on this site, or you can find a lot of references elsewhere on the Internet. The gist of ...


8

What you're asking is similar to "I want to write great software, but I'm not a programmer and have no knowledge of computer science or programming or anything like that. Will I be able to write great software if I just get the right IDE?" I'm a programmer too; take it from me: YES theory is extremely important for what you want. Given that you are a ...


8

Ooooooh there are so many hundreds of tricks and tips that you can use. I'd refer you to my blog, but for now let me give 3 simple ideas that I love to utilise, and go to regularly. These apply to melody-writing and to writing music in general. Make the music reflect the intended message Using text or words, simply write the melody to imitate the natural ...


8

This is an Am7b5 - also known as A half-diminished. This chord would never be a dominant seventh in of itself. You would need to raise the 3rd and 5th degree of the chord for that to happen. In that case, the music would normally resolve back to D minor (in your case.) Alternatively, you can use this chord as a pivot chord using it as a ii7 before ...


8

What you seek is called Modulation. The II-V-I your jazz friend told you about is pretty easy. It's really common in jazz. First you need to establish that you are in E minor, so you'll need to play something like II - V - I in E minor and then II - V - I in A minor. That's that. As you can see here for the song Nostalgia in Times Square by Charles Mingus. ...


8

I disagree with the idea that "atonal" music causes any loss of emotion, but I'll set that disagreement aside. Here's what I'll say: 1) NO WAY IN THE UNIVERSE are you the first composer to feel this way. Please don't let either what you're worried about, or the worry itself, frustrate or upset you. 2) Part of the answer is that there are so many ways to ...


7

I'll give some general tips but really I think you can't beat the books I'll mention below as a guide on how to write euphonious counterpoint. As far as the order of composing voices, Schoenberg's advice was that you have to be able to hear the full harmony as you write it. I believe he set a good value at 4 voices at once. That's one way to look at it. ...


7

You will probably need the help of the game's audio designer to learn the exact requirements and limitations; with a powerful enough audio engine in-game, you can really do anything imaginable. Presuming that you are not pushing the boundaries of video game music, though, you do still have a bit of freedom as a writer. You just need to think in terms of ...


6

There is no right answer on this and at best you will have several subjective answers to review but here are my suggestions. Your idea of hearing your guitar being tuned is actually a very good idea since it puts the viewer in the space of seeing things being set up and hearing things set up too. You can make it sound wonderful and enchanting, use your ...


6

There are many different types of synesthesia, and it is only recently that it has been taken seriously as psychological phenomena. For anyone who is unfamiliar (or too bored to click the links in the OP's question,) synesthesia is essentially where a person's brain is hard-wired to experience sensory stimulation in multiple, simultaneous ways. For ...


6

I have absolute pitch and associate colors with specific keys. I have had this ability for as long as I can remember and only discovered in adolescence that others did not have it; the two are very much intertwined in terms of how I think about music. FWIW, absolute pitch runs in my family on both sides, with my mother possessing it and my paternal ...


6

OK lets see hints for Melodies... Patterns are key. If you write a melody in a theory exam they will give you an extract from which you can repeat certain patterns. After a cadence you need a rhythmical sequence. That is rhythm that is repeated for at least two bars. This a just a repeat of the rhythm the notes need not be identical. Know your cadences. ...


6

Your question is a bit too open-ended to be answered completely and all the comments that have been made already give you useful pointers. Said simply: your ear has been trained by what you have heard over the years. When you hear a few notes, your brain will want to make sense of it, fall back onto its feet, the same way that you make sense of a few dots ...


6

This is a pretty open ended question, but what you're asking for will be covered in any DAW (Digital Audio Workstation). http://en.wikipedia.org/wiki/Comparison_of_digital_audio_editors 1. Realistic-sounding drums track writing; You will most likely achieve this through a VST plugin. http://en.wikipedia.org/wiki/Virtual_Studio_Technology . People write drum ...


6

First off, I'm going to say that many people have key preferences and there's nothing wrong with that. If you want to adapt to major keys for listening or writing, it's all a matter of preference. And not all songs in minor keys have to sound sad; there are several examples of this. Panic! at the Disco, for example. Each key has different components and ...


5

Augmented triads use, effectively, a major third stacked on another major third. Thus there are really only 4 of them. E,g, C-E-G# is the make-up of C+, but also an inversion of E+ (using E-G#-B# ), and G#+, (with G#-B#-D## ). The names of the notes have to be changed, technically, but the sound is the same.There is another 'starting' on C#, then two more, ...


5

Here are two extensive resources for instrumental ranges both from Dolmetsch Organisation: Musical Instrument Ranges and Names (With Diagrams, like the following image) Chart of Sounding Range and Clefs Used (mainly descriptive information) These resources compiled from Norman Del Mar's Anatomy of the Orchestra; Gardner Read's Thesaurus of ...


5

Here's a simple idea: Sort your compositions by date or title Pick one criterion such as the date or title of the composition, order and store your papers in labeled folders (according to the criterion you've chosen). Keeping them sorted allows you to find them quickly. Use your computer to keep track of your compositions This ...


5

It looks like a simple c minor with an added major 6th to me.


5

I think I see two slightly different questions here. It seems like you are looking for guidelines for writing parts on piano to play on guitar and also how to arrange a piano part for guitar. I will assume you are playing guitar in the standard tuning. The largest difficulty you can encounter will come from the density of the chord voicings. On a piano, ...


5

Does a taste in music reflect an understanding of that music? Yes, but rarely a complete understanding. This is a great question, and personally one of my favorite topics. The typical sense of "music theory" doesn't have much to offer here, but looking more broadly at the different levels of complexity that exist in all kinds of music gives us a lot to ...


5

I'd say to write all the key changes. Average sight-readers should be able to glance at it and instantly recognize it and reposition. If you're writing accidentals then they have to check every single one. That isn't a problem for experienced sight readers, but it's still more work.


5

Rudiments are just the different basic sequences. You can play them in any order, but you will find some work well and some sound less good. As with many aspects of music, it comes down to what you think sounds good. It is not random, but depends on what you are trying to do. Your best plan is to listen to drummers you really like and learn their fills and ...


4

It is true that there is no "right" answer to this as it depends on your own aesthetic and decision, but we can offer different ideas from which you can choose. Here are some ideas: Op.60 No.2 is in C major (the relative major of A minor) and would lead nicely harmonically into No.5 while gently emphasizing the "minor mood." In A minor, gently strum ...


4

This might sound silly, and at least initially you might feel so while doing this, but I suggest carrying a dictaphone with you anywhere you go, also while inside your own house, or even when you go to the toilet. You will get inspiration from the most unusual items and events, and at most unusual times; maybe some territorial dispute of birds on some tree, ...


4

I think the Semester IV of this online course could be relevant : http://academic.udayton.edu/PhillipMagnuson/soundpatterns/ You could ask yourself if the Cubism maintains/modifies/completely changes the different aspects of music : Tonality Vocabulary Texture Sonority Time Edit: As a complement, you can also read about the friendship between Georges ...



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