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Another way to look at it is there are basically five options an interval can be. Perfect Major Minor Augmented or Diminished. A perfect interval is an interval that fits in both the minor and the Major scale of the root note. So for instance C - G is a perfect fifth because both C minor and C Major have a G. Remember though that perfect intervals only ...


5

The answers provided here offer a useful trick, which is to quickly translate into a scale you already know to find the answer. For instance, if you know that C to E is a major third, then it must be the case that Cb to Eb is a major third and also that C# to E# is a major third, too. It's fine to use this trick when it comes in handy, but it sounds like ...


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Or, to put it another way, ╬Ło. 10 -Bb- A is a major 7th, so to Ab is a minor 7th. No. 11 - Bb - D is a major 3rd., so to Db is a minor 3rd.


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Since both of them are flat, it is the same interval they would be without flats. So: Bb - Eb would be the same as B - E which is perfect fourth. Bb - Ab would be the same as B - A which is minor 7th. Bb -Db would be the same as B - D which is minor 3rd.


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Is there more than one (name for the) note that is a diminished 3rd above Db? Nope only one correct answer. D to F is a minor third. Db to Fb is also a minor third. An Diminished interval is one semitone below the minor interval (In this case) while still being a third away from the root note ie F double flat. If so, wouldn't this ambiguity exist ...


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What you have here is mostly fine but I would do a couple modifications. Namely, I would put the rests in the first and second measures below the 1/2 notes. This way they look more like being rests in the 1/8-note-voice. If you don't like this then at least put the rests in the second measure either above or below the 1/2 notes because now it looks like the ...


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If everything has to be in the same staff (i.e. to be played by one hand) the excerpt you show in your question is fine for Keyboard. If you want to make clear that the half-notes that come together are different voices you can put the stems up for the top ones and down for the bottom ones. But this is not necessary unless you are writing poliphonic-style ...


2

You don't say what your native instrument is, but if it is flute, oboe, clarinet, bassoon, trumpet, horn or trombone, take a look at an orchestral score of a piece you have played, and compare for instance the first and second flute parts with the one flute staff in the score. The two parts are compressed into one line. Whenever the two flutes are playing ...


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The reason for the discrepancy is that there are generally far fewer winds and brass in an orchestra, and so the individual parts are usually numbered. Thus, you might see a part labeled with individual numbers (such as "1. 2." for different flute or oboe parts, for instance, or a marking such as "a 2" to indicate that they should play together. Since for ...


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Two answers: As others have suggested, practice reading as reading. I used to go through books of keyboard sonatas by baroque composers I'd never heard of, just learning to read the patterns. My problem was the opposite: I knew enough music theory to be able to reduce most tonal music to a skeleton and "fake" my way around the hard parts. The solution ...


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I play the violin and have a similar problem. I personally like this music game for android. It asks you to play notes on your instrument and gives you feedback to tell you when you are doing it correctly. I would highly recommend it to anyone trying to learn to read sheet music or trying to improve there reading abilities. The game isn't perfect I have ...


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I've seen cases where this means "sing(play) the smaller note the second time around" in the context of a vocal melody; this was in a case where the words changed from one verse to the other, necessitating a change in the notes and durations for the different verses.


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Likely an optional note, to be sung instead of the large note if the singer has what it takes to sing the small note.



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