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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 ...


18

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 ...


15

"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 ...


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 ...


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

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 ...


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

1) Does electric guitar imply heavy usage of dynamic range compression? Not inherently, but electronic compression is applied to the signal of the electric guitar in much of popular music, particularly when the electric guitar is used in a large band with many different instruments competing to be heard in the mix. Jazz musicians who play archtop electric ...


7

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 ...


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 ...


6

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 ...


6

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 ...


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

@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. ...


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 ...


4

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 ...


4

I suggest slowing it way down, so that you have enough time to focus on what your hands are doing. Practice playing the piece (it's simple enough that you probably don't need another exercise), with grossly exaggerated dynamic differences (try fortissimo right hand, and pianissimo left hand). As you get the hang of it, bring the right hand down to a more ...


4

I've always been taught to read mf and mp as abbreviations for "mezzo-forte" and "mezzo-piano" or "moderatamente piano" and "moderatamente forte". Mezzo, in italian, means "half" and moderatamente means moderately (mildly, fairly). Both english and italian wikipedia page about this matter agree. mp, standing for mezzo-piano, meaning "moderately soft". ...


4

Playing through a wah wah, and gradually increasing the resonant frequence (creating more "open" vowel sounds) can lend a dynamic effect.


4

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 ?


3

Place your fingers on the chord but raise your finger over the B flat flat. As you bring your hands down to play the other notes, play the high note simultaneously. Because of the extra finger motion, you will play that note a little louder.


3

To the many excellent suggestions already given, I'll add something with a bit of a different slant. It's very important to work from both sides of the problem. If you can imagine exactly how you want the music to sound, you can make it sound that way. The connection between your ideas and your hands is very intimate, and I went to no end of trouble ...


3

I had a complete inability to play different dynamics with each hand. Whatever one hand tried to do, the other followed. I had to take it down to the very basics to learn this. What I did was play one note on each hand in harmony (e.g. C and G). I just kept repeating these two notes, while varying the dynamics. Then I would keep my left hand playing softly ...


3

I found that the easiest way to gain independence of the hands in terms of dynamics is to do this: assuming that you know the notes, play only on top of the keys, without pressing the key with the hand that needs to play softly (like the accompaniement) and play regularly with the other hand. If you can't do it together just play separate first. I call this ...


3

Although singers may go louder on higher notes, as you've noticed, they don't have to - higher notes can be sung more quietly if using solid technique. I can't give you a figure, but it is possible for singers to create a VERY loud sound without harming themselves, and a good example of this are opera singers, who manipulate various aspects such as larynx ...


3

2nd time ff. 2nd × ff. Or, even better, the same in italian, which I think would be 2a volta ff



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