Tag Info

New answers tagged

0

I should point out that I've read both this book and (more recently) a book on counterpoint in the style of Palestrina. I noticed, very consistently, that the Palestrina book contradicted itself on many many occasions throughout the entire book. I've learned to realize that a) mistakes are made b) exceptions are allowed and c) don't focus so much on the ...


1

I'm jumping right into products, sorry in advance. These are some of the best around, but there are others in each product category that would do the same thing. There are in fact programs that will do exactly what you're asking, but they aren't inexpensive. Steinberg's Cubase, a digital audio workstation, will record a mono track of your voice through a ...


2

"Tritone" did not originally refer to both augmented fourths and diminished fifths. In fact, thinking of augmented fourths and diminished fifths as enharmonic respellings of the "same" interval didn't exist either. "Tritone" meant, literally, three tones or whole steps: e.g. F-G-A-B is a tritone, and is what we would now call an augmented fourth. A ...


-1

So anyway I came across this software after failing to get useful answers here: http://scorecloud.com/ I've had fairly poor results with it so far to be honest but that may be limitations of my technique. Someone else might find this useful so I'm sharing it... it'd be interesting to hear if trained singers get better accuracy than I do (post a comment if ...


0

However much money you are prepared to spend, the best - probably the only - computer for doing this is the wet one sitting between your ears, plus your musical skills and experience.


1

This had me wondering, there must be some way to do an analysis where the songs can generate some graph, and we can compare the graphs. Is my thought valid? Sure. You can graph the songs' pitches (Y-axis) over time (X-axis) to compare them. That's what a score is. A musical score is a peculiar sort of notation for graphing pitch over time for the ...


5

One of the first things to observe is that the tritone F#-C should be avoided, because it suggests a dominant sound (leading to G). Consequently, don't use the II7 chord (D7 in the case of C lydian), and don't use IVm7(b5) (F#m7(b5) in C lydian) either, because both contain the tritone. Note that the triad II (D major triad) can be used. Progressions in ...



Top 50 recent answers are included