Hot answers tagged

51

Note: For the physics and neurophysiology covered in this answer I am going to be oversimplifying for brevity. They are not the "same" but they have the same pitch class. Notes that sound similar are said to have the same pitch chroma and the collection of all these notes are said to be in a pitch class. The octave, however, does differ in pitch height ...


24

They're not the same sound, and depending on how specific you're being, they're not the same note (though they're both 'A', 440Hz is A4, 880 is A5). In most contexts, they'll be the same degree of the scale, which means they'll function similarly (but not the same) as part of chords and harmonies. You may be able to hear that two different A notes, played ...


16

It is not necessary to double the root when converting guitar chords to piano chords but it could be done if fits better with the music. But there are important distinctions between the guitar and piano that come into play when considering how to notate chords on sheet music. These distinctions center around (and are affected by) the way chords are played ...


14

They are both the same note, if note means letter name. They're both A, but 880 is an octave higher than 440. The 440 A has harmonics on most instruments, one of which being the second harmonic exactly an octave higher. In fact, on some instruments, this note is almost as loud as the fundamental, so the two can sound nearly the same. Most of us would hear ...


14

It is, I think, a perfectly clear observation that one note an octave above another note sounds as if it were the same in a certain sense. It's certainly common for people to perceive things that way, but it's not universal. Here's a question from someone who complains that they don't hear things that way, for example! shared harmonics alone can't be ...


12

The words denote totally different concepts and the difference lies in the arrangemental intent for the instruments playing tones in parallel octaves: Parallel, or consecutive, octaves If the intent of an arrangement is to have independent voices but two (or more of) them happen to move in parallel at the octave (or in unison, or two or more octaves apart) ...


11

I'm somewhat influenced by the philosophy of Jamie Andreas' guitarprinciples.com -- although please don't take this as a book recommendation, because I haven't read the book! A lot of what she says, I suspect, applies as much to the piano -- or any other instrument -- as it does to the guitar. The core of her approach is that we are trying to train our ...


11

The frequency of a pitch is n. the frequency of a pitch an octave higher is 2n. So, yes the harmonics are going to be very similar, but the first harmonic of the original pitch IS the second pitch in frequency. What you say about an octave and a half (but not exactly, that's a tritone) has caught out several singers in my past, where they pitch on a 4th or ...


9

I have been following guitar lessons in a small group for over a year. Recently, we've begun specific training to recognize intervals in scales (such as major third, perfect fifth, and evidently also the octave). The most basic exercise was that the teacher played the root note of the A myxolidian scale, and a random interval (which we had to guess and name)...


9

The rules about parallal octaves only apply when writing Bach chorale-type harmony where the aim is rich harmony with no one part "sticking out" disproportionately. Because this is often the first type of harmony we are taught to write, we can fall into the trap of thinking it's the ONLY way of doing it! Orchestration is all about doubling lines, often in ...


7

I'm unsure what to make of the pain you're describing. I've encountered a similar problem attempting to play a piece with a similar technical challenge, but I never felt pain in the wrist joint; rather, the muscles in my forearm were very fatigued. I assume that's what you were describing. That fire is lactic acid building up in your forearm muscles, which ...


7

There are indications of an underlying neurological (and arguably evolutionary) basis for perceiving octaves as equivalent, see for example this discussion. This phenomenon is pretty fundamental in that it is also seen in monkeys and other mammals, but not (apparently) in some songbirds. There has been quite a bit of work on the neurological basis for ...


6

You have a couple good questions here. Parallel Fifths and Parallel Octaves occur primarily in realizing functional harmony; whether it is in a chorale, a fugue, or any number of traditional forms of the European Classical tradition. They are the result of two voices moving in parallel motion - hence the term "parallel fifth / octave." They are forbidden ...


6

Josef Lhevinne, a famous piano teacher and pianist addresses this in his book. There's no secret, except slow practice. Really, just don't play faster or in larger increments than you can manage perfectly. Shura Cherkassky used to sit for hours and make sure that every finger was centered over every note in a piece before playing. I've spoken to Jon ...


6

I have been learning "Rage Over A Lost Penny", and there is a part about one third in where the left hand quickly plays in 16th notes at about the same tempo the fingers are 2,1,5,1,2,1,5,1 and is supposed to seamlessly change the notes that 5 plays each time. Then I play 5,1,2,1,5,1,2,1 and about 6 more variations seamlessly with only two short pauses. ...


6

This is a question, which according to me, you should ask nobody else but yourself. The best way forward is different at each stage for each person. I may say playing 2 hours for 5 days is better than playing 10 hours for 1 day, but someone else may need just one long burst to get what he needs. If you see among virtuosos themselves, 2 pianists may have ...


6

If I understand correctly, you want a way to display a chord that is reduced to only the tonic (lower and 1 octave higher). According to this site; http://www.all-guitar-chords.com/lesson.php?id=245 They kind of call it (8). So I guess you could write A(8), but you should be careful to explain this this notation at the top of your sheet, just to be sure. ...


6

If you play CEGC, it won't be parallel eighths. It will simply have the octave doubled. In order to have parallel eighths, you have to have the voices move. If you take guitar chords and put them into sheet music for piano, should you double the root ? There isn't any definite answer here. You certainly have to option to easily double the root (C). So, ...


5

When playing any piece on an instrument different from the one(s) it was originally written for, it is extremely common to make minor changes in the peice, including transposing it. Usually those changes are called a transcription. In your case, you could just play a "flute sonata transcribed for clarinet", or a "keyboard fantasy transcribed for clarinet". ...


5

Recognizing notes as being "the same" when the sounds are different (two different frequencies produce two different sounds, which may be the same note) is part of cultural training. You can instantly recognize two bearded men as being both "men" even though one is a dark-skinned baldheaded quadruple amputee and the other is an albino giant, and both are ...


4

I assume that by "tones" you mean pitches, and that you're talking about an instrument that can only produce nine fixed pitches -- like a toy piano or glockenspiel. The conventional approach is to have notes corresponding to the white notes on a piano; that is the notes of C major, choosing a range such that a whole octave of C major can be played, perhaps ...


4

there is octave notation for just pitches. C4 being middle C. C5 an octave up, etc. But if you're talking about chords, the Am could be any octave you want. And if you want specifically an octave to be played, as in an A arranged as an A3 and A4, I don't think there's a chord symbol for that other than writing octave, oct, etc. Usually the chord states ...


4

It's 4 octaves + C: CDEFGAB CDEFGAB CDEFGAB CDEFGAB CDEFGAB C. You count 4 octaves from the starting note and add the starting note again: C1-C2 (first octave), C2-C3 (second), C3-C4(third), C4-C5(fourth), C5-C6(fifth), as above. The first example you provided: CDEFGAB CDEFGAB CDEFGAB CDEFGAB CDEFGAB is 5 octaves minus a minor second. The second example: ...


4

I'm going to assume that you've already checked your flute to see if it needs repairs. Here are a few tips I can give you to improve your output of low notes (I've been playing the flute for about 6 years, so I used to encounter these issues in the beginning too): Practice the lower notes: If you are adapting your sheet music to an octave higher, then ...


4

As you detune strings, they start to get "floppy" and the guitar becomes hard to play well. To prevent those problems, you can use thicker strings, a longer scale length, or both. At some point, the strings become so thick that you need to widen the nut slots or else the strings won't sit in them correctly. You also may find that you need a higher action and ...


4

Tuning a guitar lower than standard will certainly impart a darker, heavier sound. That's the reason many metal bands seem to employ various type drop tunings. A standard scale 6 string guitar (25-1/2" or 24-3/4") tuned down an octave (or tuned down to F# below the standard low E) would not be very practical to play in a typical guitar playing sort of ...


4

The podcast used the term "the same note" loosely. Maybe too loosely. But I suspect you do really recognignise that a tune repeated an octave higher has a closer similarity to the original than one transposed by a different interval? This is what they were talking about.


4

Simple way to demonstrate this to yourself: Get a piano or keyboard, and starting from any white note, count up 7 white keys. These two are an octave apart (so if you started from the 440Hz A, the higher one would be the 880Hz A) If you play each of those notes, you should be able to tell they get higher by increments (don't worry at this stage about the ...


4

Standard sheet music specifies the octaves quite precisely. The lowest line in the treble clef, for example, is E4 (the E in the fourth octave): Ledger lines can also be added above and below the staves to extend their range, and you might sometimes see 8va written above or below certain notes to indicate that they should be played an octave higher or ...



Only top voted, non community-wiki answers of a minimum length are eligible