New answers tagged

0

I would start by ignoring the left hand, and figuring out how to notate the right hand part on its own. From about 0:20, it seems to have two beats in the bar (a quarter note, then four 16th notes). Before and after that, there seem to be a lot of irregular tuplets (5:4, etc) so figure out where the main beats are and fit the rest of the notation around ...


1

This is a bit difficult to answer, since one person's aggressive might very well be another's bombastic, but see if any of these techniques strike your fancy: Liberal usage of dissonance and/or nonharmonic tones Instead of just rhythmic percussion/brass, try interspersing more ongoing rhythmic lines (or even pure polyrhythms) throughout all of the ...


1

My first suggestion would be to slow down the music to half speed, if you haven't tried that already. You can do that with a YouTube video by clicking on the settings gear icon and selecting the speed. It might make certain passages a little clearer to hear what note is being played when. For instance, I'm noticing that the first note is probably a pickup ...


2

Something that's related to your question is the mode theory. Here's a nice article on that! It boils down to: > If you play your scale (e.g. C major [C D E F G A B]) on a set of chords with a tonal centre of C major, and you focus on the relative position of the notes towards the C in the scale, it will sound happy (Ionian) > If you play your scale ...


1

A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: whole, whole, half, whole, whole, whole, half.where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red broken line in the figure). A major scale may be seen as two identical tetrachords separated by a ...


2

C# major's relative minor key is A# Minor. These two keys both contain the same notes but a different tonic (in this case the tonic being C# and A#, accordingly) C♯(i) D♯ E♯ F♯(iv) G♯(v) A♯ B♯ A♯(i) B♯ C♯ D♯(iv) E♯(v) F♯ G♯ This doesn't really have any bearing on how you write a song in a major key, but it does help us to understand the relationship ...


0

Mariah Carey's cover of I Want To Know What Love Is drops a semitone during the second chorus (the Foreigner original doesn't change key).


0

No experience with that type of composing myself, but each syllable has up to two parts: the vowel and the consonant. In general, the more open the vowel and the more percussive the consonant, the louder the effect will be, e.g. moo moo moo will be much less dramatic than da da da. Voiced consonants will also be more noticeable than their unvoiced ...


1

Is changing tempo during the song and back again a common device used on modern popular music? Or is there a good reason to avoid this type thing? It's not common, but there is precedent: "We Do What We Can" by Sheryl Crow (track #10 from her debut album) "Fool in the Rain" by Led Zeppelin I could probably think of a few others, but it's getting ...


1

You mention "...showcase a vocal range" -- sometimes it's out of necessity rather than showcasing. Two examples I can think of offhand include: Islands in the Stream as recorded by Dolly Parton and Kenny Rogers. Kenny has the vocal lead for the first verse and chorus (in C major), but then the song modulates two whole tones lower (A♭ major) so that Dolly ...


3

Adding further to the two existing answers, the notes of MODES will fit slightly better than the notes of each major scale. On chord G, obviously, the G scale notes fit best. Still in the KEY of G, but on a D chord, the notes of D Mixolydian are a (slightly) better fit, and on a C chord, the notes from C Lydian likewise. So, what's happening is that on ...


6

I stand with Shevliaskovic on this: You can indeed do what ever you want. Taking your question as written, that is the exact correct response. However, I believe that this is what you really wanted to know: It is true that G Major key has a D Major chord as the dominant (fifth chord of the key), and that D Major key has G Major chord as the sub-dominant ...


6

First of all, since this is your composition, you can do whatever you want. Unless you're going for something very specific, like you want to write your song in a certain style, there are no limits. Go nuts. In your example, I assume you're in the G major key, and you have a D major chord, right? If this is the case, then yes you can freely use the D ...


2

Believe it or not what you are experiencing is very common and often done unconsciously without you even realizing what you are doing. Chord progressions cannot be copyrighted because there are only a certain number of common chords that fit in a given key. You might have seen the Axis of Awesome video where they demonstrate that the same chord progression ...


0

TO some extent, one doesn't so much follow a form as use that form as a model. All forms allow for some variation (random or systematic). To use a previous illustration, Lewis Caroll changed Twinkle, twinkle, little Star. How I wonder what you are. into Twinkle, twinkle, little Bat. How I wonder where you're at.


1

In popular music, the most common chord positions are the root and the second inversion. First-inversion chords tend to sound rhythmically "weak". In any case, doubling the third of a major chord between the bass and treble is probably not a good idea, unless you really want that sound for some reason. Try it, and some alternatives, and use your ears! If ...


0

Write your bass line. Then fit harmony notes in as they will. It's quite unlikely that both melody and bass will take the third of a major chord. It's also unlikely that block chords in the piano left hand will sound good. They tend to sound muddy.


0

For chords at the end of the piece (or really important sectional endings) a root position chord is often best. Other places, the choice of root or first inversion should be (at least in my opinion) which one makes the bass line sound best (in the composer's opinion.) Usually (at least in chorale style with 3 or 4 voices) one prefers not to double thirds of ...


3

The only time you shouldn't have parallel octaves is when you are voice leading and want two parts to be completely independent. The reason why you wouldn't use it is that it makes two voices that should be independent sound as one. It's used very, very frequently as doubling a line by octave is very effective at making it stand out. For example in Day ...


9

The rules about parallal octaves only apply when writing Bach chorale-type harmony where the aim is rich harmony with no one part "sticking out" disproportionately. Because this is often the first type of harmony we are taught to write, we can fall into the trap of thinking it's the ONLY way of doing it! Orchestration is all about doubling lines, often in ...


1

The range for male falsetto tends to be that of alto. A few soloists might dip into mezzosoprano ranges, but alto is quite more common. One reason is that for a usable falsetto range, you are better off with a deeper chest voice and that limits the higher range. If you want your singer to stay solidly in falsetto, you'll still want to avoid low alto range ...


2

Anything can inspire creation of mathematical systems expressed in music. However, whether the connection is actually less tenuous than any kind of voodoo is a different question. In the manner you pose the question, I don't think that it can be answered positively with an approach reasonably called justifiable. One obvious problem here is that Fourier ...


3

William Sethares, creator of "xenotality" and "exotonality," wrote a book called Tuning, Timbre, Spectrum, Scale. According to Dave Benson in Music: A Mathematical Offering p. 490: The basic thesis of this book is the idea, first put forward by John Pierce, that the harmonic spectrum or timbre of an instrument determines the most appropriate scales ...


0

To me his style is all about effect. The linear melody and contrapunctal lines keep the music together, and harmonically he is going out as far as possible, but still to my ears with always having a tonal center. The use of chromaticism helps him "mask" the harmony and letting him go out to unexpected chords.


-1

OK, a different answer. Get a teacher who understands where you want to get to. But then, trust him. Don't be so full of what you DON'T want to learn, let him tell you what you DO. And accept that there's no easy fix.


0

https://wmich.edu/musicgradexamprep/NonChordTones.pdf I think that 3 sources can help to clear up this question, that is H Helmholz, J.Rameau and fake-books in which You ought to analyze only acknowledged works. H. Helmholtz explained dissonances by interaction of chord's partials with near frequencies. Long before Helmholtz didn't dispose by this ...


0

No rules, but some models. Look at pieces titled "Sonata" from Mozart and Beethoven. I won't analyse their structure for you - anyone considering writing an extended piece of music is surely quite capable of doing that for themself - but note that a piece of music of any length NEEDS a structure. Use the classic Sonata Form if you will, or use something ...


2

The word "sonata" may refer to different things. In the Baroque period a sonata was just an instrumental piece (like Scarlatti's sonatas). I suppose, though, that the OP may be referring to the term applied to the classical period, in which case it can have two different, although related, meanings: 1) The sonata-allegro form, usually simply abbreviated ...



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