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14

There are 3 separate voices. Voice 1 is the high D-F#-A-G, voice 2 is the middle [eighth rest]-D-A-E-A, and voice 3 is the half notes.


11

This is a pretty strange measure of music, I will grant you that. I would have notated this differently, but it is playable if you can decipher it. The notes in the middle voice should be written as single eighth notes and tied eighth notes. "Staggering" the three syncopated notes in the middle voice by writing them as quarter notes is against the ...


9

It's an octave clef. It's telling you all the notes written are actually down an octave. Since the guitar is already a transposing instrument where everything is transposed down an octave, it's essentially showing you the actual notes being played instead of the implied octave transposition. So for simplicity's sake you can just ignore it and play as you ...


9

Dave is right, but there's a little more to it. You can break the part up into two different lines. One that looks like this: And another that looks like this: When you put them together, you get the two part represented by different stems. It's pretty much telling you to hold the first note for the length of a quarter note, but play the set of notes ...


8

Dots in general start to get messy after the first one and can lead to confusion to while sight reading if more than one is used. For the sake of sight reading there are even some syncopated lines where a normal duration like a quarter note or eighth note are represented as ties to show the beat better. Using more than one dot is more theoretical in ...


7

I'm guessing that tied notes have rather taken over. They're easier to read - were there two or three dots?- and the grouping probably is easier to follow. Let's face it, it's simpler to read a crotchet tied to a shorter note than do the sums to work out how long the (double) dotted note needs to be.


6

There is no default. In the absence of markings, it's up to you to figure this out, just as you would have to figure out dynamics or fingering if those are left out. For example, take a typical lead sheet for "How High the Moon": http://www.realbooksite.com/jazz-sheet-music-images/Jazz-Sheet-Music-Page-202.jpg, which leaves this out (ties are indicated as ...


6

In your score, if you count the tied notes as a unit (which you should) adds up to 9 notes and there are 9 notes in the original part. Count the notes between the circles as one. The original score is trying to collect all these values into one. The way your score turned out is correct and much more simplified. I doubt you'll come across the first one ...


5

It's called measured tremolo, and is a shorthand for writing a series of eighth notes. It means that you are to play repeated eighth notes that fill the time of the half note. So, for example, in the first measure, you'd play four eighth notes of A, followed by four eighth notes of G♯.


5

There are two voices in this music: the lower plays f, then e as quarter notes; Note that the downward pointing stem's don't have flags/beams -- thus they are quarter notes. the upper plays f <a d> e <g c#> as eighth notes This is the way to write music where more than one voice happen to execute the same note at the same time. If you ...


5

Slow it down then. Pachelbel's manuscript has no tempo affixed. With the basso ostinato suggesting a fairly deliberate pace, try somewhere between 72-92 bpm. If the shorter notes start blurring, slow the tempo down a bit; if they are dragging a bit, speed it up. In general, the tempi specified for a given piece (when specified) are suggestions anyway. ...


5

There are oodles of tab-reading tutorials out there so I'll keep this basic (just google-search "how to read guitar tabs"). The "lowest" string on the paper is your "lowest" string pitchwise (your low-E) but the "highest" string physically (closest to you). Each number represents the fret number to hold down and play. We move from left to right and play ...


4

There is a notation form I have come across called Sagittal notation. It seems pretty comprehensive for microtonic notation. The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the ...


4

A curved line connected two notes that are the same pitch is a tie. If they are different pitches, it is a slur. In this example, the C sharps in the bottom voices in the right hand are tied, and the other voices are played legato according to the slurs.


3

To an extent, it's instrument dependent. On a piano, most 'ordinary' notes will be played legato by default. On wind instruments, each note may well be played using a separate breath/tongue. On strings it's different again. Bowing will make a difference in phrasing, so will need to be written. On guitar, a slur will indicate that the following note/s will ...


3

Note: For the sake of discussion, I'm limiting myself here to equal temperaments, which is the most common way of tuning keyboards. Other systems exist, of course, but would probably only confuse the matter. Why do B and C and E and F not have a sharp note between them? Simply because, acoustically speaking, there is no room in our current system for ...


3

The symbol over the note (which can also be below a note, upside down) is called a fermata and nowadays it has become a standard indication of a pause*. Meaning that the duration of the note or a rest associated with the fermata will be longer than it's supposed to be. say for example, if it's above a quarter note then the duration of the quarter note could ...


3

Yes, indeed. The time signature together with an understanding of the musical style of the period in which the music was written tell you what the rhythm is and what the accents are supposed to be in general. Specific notes in specific measures might be written in such a way as to over-ride the default pattern. For example, in classical music in general, in ...


2

That's a fermata, indicating to rest on this note longer than its nominal value.


2

Chord symbols are very explicit in telling you what chord you are playing. A C#7 is a C# dominant 7th spelled C#, E#, G#, B. Any chord with a note and a 7 is a dominant 7th. Here's a simple breakdown of chords based on chord symbols. To keep this general, we'll use C as an example, but this is for any root note: Triads C = C major = root, major 3rd, ...


2

These time signatures are very interesting in nature and have a very specific purpose just like most things in music. A measure of (3/5)/4 would mean each measure contains 3/5 of a quarter note or 3 eighth note quintuplets. A simpler example is 2(1/2)/4 where where would be 2 and a half quarter notes or 5 eighth notes. As Matthew Read pointed out in the ...


2

If you are talking about microtonality - of which I know little, there will have to be a lot more than just changes to E/F and B/C. It's possible to have notes between any adjacent semitones. There could be as many extra notes between G and G# as between E and F. It just happens that it's accepted (and has been for centuries) that the note called F is ...


2

As Patrx2 notes, JP did not indicate a tempo. There are reasons that suggest that this piece was played at a moderately fast tempo at the time it was written - say 100-120 BPM, where a beat in this case is a quarter note. However, when played on strings (violins and bass), modern tastes place this piece firmly in a lento (slow) tempo; say 56-64 BPM. ...


2

To answer the second question, you can use the "voices" feature of GP6 : You can have 4 voices. Each voice has it's own "bar duration count" which is independent from the other. To change the current voice, use the "1", "2", "3" and "4" buttons. When you'll add a note, it will be added to the currently selected voice. The notes from the other voices are ...


2

Well, it wouldn't make sense otherwise, would it? It can't be a tie since those are only between two adjacent noteheads (which need to have the same pitch and would not be used to connect two eighth notes when the first is on the beat: you'd just write a quarter), so one wants to hear four notes. Which is what your fellows produced. Now the question is ...


1

It turns out that the closest approximation to this articulation is a scoop. Many thanks to @MatthewRead for pointing me to the glissando family where I found the scoop (and also the plop, doit and fall) articulation. While this is not the normal way of depicting a scoop some poetic license could be allowed, since: The notation for scoops and fall-offs ...


1

Adding to Dom's excellent answer, the tails on the dots are the clue. There's one set of notes with up tails, and one with down tails. Showing two parts to the line. Trouble is, it's a compromise, as it looks like the first note in the bar could be a minim with a tail AND a beam. Of course, this sort of note doesn't get used. It's written like that (and has ...


1

Phrasing is something that cannot be precisely quantified. It can only be described by words like "legato" and "tenuto" and "staccato" I tell my students to remember this: The music does not exist on the sheet of paper. The written sheet music is a detailed encoded message to help the musician figure out how to perform the music. The musician has to decode ...


1

By what you explain, it sounds like you want to repeat a section 3 times. You don't need to use a Coda and Segno because a closing repet can be used more than twice as seen in the Guitar Pro manual: Repeat close This symbol replaces a closing bar-line, and sends you back to the last Repeat open sign. A dialog window will open up for you to ...



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