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26

"Worth the money" is very subjective. Let's instead talk about the various factors you have to consider. Fitting A into B Good quality microphones usually have XLR connectors. These have three wires arranged so that any interference picked up in the cable is cancelled out. Many USB audio interfaces have XLR sockets (but check that the one you choose does)....


20

There are several situations where this notation makes sense in piano music. There is one note in one part, for example the melody, but several notes in the accompaniment (written on the other staff). There is a "symmetrical" arrangement of a two hairpins showing a crescendo and a decrescendo. One of the hairpins is over a single note, the other over ...


19

Context is important -- what else happens around the chord. Let's just take the C major chord for starters. Listen to these examples: The first two measures of Mozart's sonata "for beginners" in C major. A nice, pleasant chord. Happy music. The opening of Mozart's Jupiter Symphony. This has a much more energetic and heroic sound. The opening of the ...


18

Pursuant to Mark Lutton's excellent answer, I'd like to make the point that Chords don't give us feelings, we give chords feelings. The feeling you get after hearing a chord is not inherent in that chord--the only thing inherent in any chord is the physics of the harmonic series. (There is something to be said for consonance vs. dissonance within the ...


15

Arco (which is not an abbreviation) means to return to bowing after pizzicato (abbreviated pizz.) or col legno. Pizzicato means you pluck the strings with your fingers instead of using the bow, col legno using the wooden backside of the bow instead of the hairs. Ten. is short for tenuto which means holding. In Beethoven it probably means you should hold the ...


15

fff is pronounced fortissimo possibile or forte fortissimo ff is pronounced fortissimo f is pronounced forte mf is pronounced mezzo-forte mp is pronounced mezzo-piano p is pronounced piano pp is pronounced pianissimo ppp is pronounced pianissimo possibile or piano pianissimo More than three p's or f's are rarely rarely used. Their only purpose is to note ...


12

In general, I feel that practicing with scales is a good way to learn technique like this, be it crescendoing through a passage, playing at different dynamics, playing with different rhythms, etc. For instance, play an octave of a scale with your right hand loudly. Then play an octave of the scale with your left hand, but softly. Then practice playing ...


11

It's true that distortion, especially heavy distortion causes a lot of compression and evens out most of the dynamics. But a softly picked note is not only quieter, it's also duller, that is, it contains less high frequency, even after distortion. Since we are more sensitive to high frequencies, some dynamics can be achieved just by picking softer or harder. ...


9

The feelings and emotions associated with chords are completely subjective, influenced by a combination of nature and nurture. This is why I might go into raptures over a piece of music that leaves you cold, and vice versa. Absolute pitch In This is Spinal Tap, the character Nigel Tufnel says that for him D minor is "the saddest of all keys, I find". Most ...


8

First of all, you should become comfortable with both hands separately and together. Then play really, really slowly. Stare at the hand that should be louder and focus all of your mental attention on it. Play it as loudly as possible, while playing the other hand as softly as possible. If you have little to no experience in this, just get the feel of it ...


8

On piano music, with treble and bass clefs, if the dynamics mark is between them, it refers to both parts (hands). If it's for the treble, it's found above the treble, and if for bass alone, it's found under the bass.


8

I think the answer is "no, there isn't a standard notation for this." I've never seen one, anyway. But dynamic marks intended for humans (i.e. not for computer playback) have traditionally relied on common-sense interpretation. For example If you have "ff" and the next 50 or 100 bars of music contain several short crescendo hairpins with gaps in between them,...


8

I agree with Tab's comment — this is probably an artifact from re-arranging the piece from a wind/other instrument that could indeed alter the volume at will over the duration of a single note. It could also be a poor way of indicating a transition from one volume to another, with the note being a single intermediary volume. However, if the marking ...


8

There's at least one case of these "impossible" crescendi that definitely isn't a mistake: at the end of the Liszt Sonata, the fifth- to third-last chords are marked pp; crescendo; ppp. The only possible realization is through gesture, and certainly Liszt was aware of this.


7

Those two problems you describe (mishitting strings and inconsistency in volume/tone) are only fixed by practice. Lots and lots of practice. They are things you can get away with in a live environment, but they do show up in a studio where every mistake is very evident. I had the same problem - I love gigging, but the first time I went into the studio I ...


7

Some people use "fortississimo" for fff and the equivalent for ppp, but, as you note, that doesn't have any basis in "proper" Italian. American Luke's answer of "fortissimo possibile" is sometimes used for "fff" but only if further gradations, such as "ffff" aren't used. "Triple forte" is the most commonly used expression I've heard in English (with the ...


7

"p" is always softer than "mp" P = soft mezzo = "half" mezzo piano = "half soft" In almost every circumstance what you have seen could be considered a simple editing error. That said, if the intention was to diminuendo and then return to a "mp" marking or in fact grow from a previous "p" marking, then it would not be a typo. I would recommend looking ...


7

I've seen ppp, pp, p, mp, mf, f, ff, fff used commonly giving you 8 levels. ffff and pppp seem pretty rare. There's also no standard for EXACTLY how loud each of these are. Eh, it's the arts. Whattayagonnado ?


7

In this admittedly limited study, they record one oboist using more than double (over 110 cm H2O) the blowing pressure to play fortissimo compared to two different clarinetists (both around 50 cm H2O), also playing fortissimo. The other oboist in the study blew a peak pressure of about 80 cm H2O for fortissimo playing. A better graphical comparison is ...


6

This is quite a lot like this thread, which was quite comprehensive : Electronic Drums in apartment A few points : The problem isn't so much sound travelling through the air and through the wall so much as making its way to hard surfaces and travelling through that. If you have a wooden flor, the wood will resonate nicely as you hit the kit (especially ...


6

3.5mm mic jacks might (sometimes supported by a jumper or different sound card setting) provide "plugin power". It can power electret condenser capsules with the typical single-FET preamplifier and works, for example, for the surprisingly good stereo clip microphones that were available for Minidisc players. Regular phantom power, however, is 40V to 48V ...


5

The general way to emphasize a single note in a chord is to shift the weight of your hand over the finger playing the note you want to emphasize. This can be achieved by a slight rotation of your wrist. I don't see why it wouldn't work in your situation.


5

As you practice, you will find a point where, to get more volume, you stop feeding air through your vocal chords with the diaphragm, and start using the ribcage and other muscles in the chest to force air through your throat. The feeling of this, and the sound produced, may be described as feeling or sounding "overblown" compared to proper technique, similar ...


5

@Matthew Read gave some good suggestions, to which I'll add: Try rehearsing the problem sections at a wide variety of tempos, particularly ridiculously fast (once the choir knows the section reasonably well). Unwanted tempo changes become habitual. One way to break that habit is to go much faster (or slower, if the problem is acceleration) than desired, ...


5

Controlled feedback is a useful technique although it's as old as Hendrix. I like to use high gain and distortion and a wah so that I can hit a single note and control its feedback crescendo and decrescendo with careful muting. When I do this, I put the wah between the distortion pedal and the guitar. What are some ...


5

As a mature (elderly?) learner, I faced a similar difficulty about a year ago, and found these ideas helped: With the "quiet" hand, keep the fingers as close to the keys as possible at all times (if possible, make sure that they never actually lose contact with the keys) and lift the fingers of the other hand off the keys before playing the note (loudly). ...


4

The most common way to notate that would be f-ff (or "whatever the first dynamic is"-ff). The idea is that the first time you would play at the first dynamic and the second time you would play the second dynamic. I would advise if there are any other modifications to the verse like crescendos, decrescendos, and accents the verses be separate so the texture ...


4

Victor Zuckerkandl, Sound And Symbol Sound and Symbol is part of Princeton's "Bollingen series". Bollingen is the name of the estate of Carl Jung; hence the whole series represents the "Jungian side" of the sciences. Sound and Symbol is a "symbolist" approach to musical philosophy. It draws from the Spanish symbolists (who split from the Cubists who split ...


4

I can't speak to the psychological reasons or addressing them, but there are a couple things you can try that basically apply to all types of music. 1) Have the weaker members listen to and follow the stronger ones. Ensure they can hear them, of course; don't put them on opposite sides of the stage. The mediocre members will probably do well enough if the ...



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