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23

Your notation may work for a free form melody, but that's it. How will you notate several notes played at once? How will you notate exact rhythms if you don't split up a bar into beats and subbeats and give each note an exact duration? Which octaves are those notes? I agree that standard notation (common music notation) is complicated, but there are pretty ...


19

We most commonly use staff notation because it is a good compromise between expressiveness and readability for a wide range of music. There are alternatives, however these alternatives are specialized in one dimension or another, and thus, in a sense, less expressive than standard staff notation. The overall problems relate to the fundamental issues in ...


17

Everyone, when they first begin to learn to play an instrument with music notation, is puzzled by all the complexities and nuances. Music notation is the way that it is because it works well. You know so little about playing music at this point that you cannot fully appreciate all that is involved. The more you learn, the more sense it will make to you.


17

If you would like to see a tour de force in the use of repeated notes, have a look at Martha Argerich's performance of Scarlatti's D Minor Sonata: You will notice that she uses 321321 ...


16

It's all about the size, and therefore the length of the strings and the size of the vibrating surface of the wooden soundboard. Even a baby grand at ~5 feet is longer than a typical upright is tall. A concert grand at 7-10 feet is much, much longer. I can't do any better than what Wikipedia says, so I'm going to quote wholesale: All else being equal, ...


15

I highly recommend reading What Every Pianist Needs to Know About the Body by Thomas Mark. The answer to this question has a lot to do with the action of the piano itself, but it has more to do with the way you move your muscles to play. The answer to your question is explained in detail in Chapter 7, entitled "Mapping The Piano". To paraphrase the first ...


15

It's effectively written as three parts. The treble clef is one line. The bass notes with tails going down is the bass part, comprising B minim and another B crotchet. Then there's the 'middle line', played with the left hand.Obviously it's a D minim, tail up, but that leaves the first beat of this bar with nothing to play. Thus a crotchet rest. You can't ...


14

The fatter bass strings move a lot more air when they're hit with the hammers in the piano, so they produce more volume of sound. The short thin strings at the top do not, so having more of them compensates. Also, they sound richer when more are played. Think of an orchestra - not many double basses, but quite a few violins. With one thin string or ten, ...


14

Let's look at what going in the bass clef. You are playing a B for beats 1 and 2 and then playing another B on beat 3, but you also play a D for beats 2 and 3 in the bass. Because you play the D on beats 2 and 3 and the B is also being played on beats 1 and 2, the rest is used to show you what beat to start playing the D. Without the rest in, the notation ...


13

There are physical and psychoacoustics reasons behind it. A vibrating string held by its two extremities can only vibrate at certain frequencies (cycles per second, expressed in Hertz, i.e. 1/second), which relates to the characteristics of the string (e.g. its weight per unit of length, its flexibility) and how it is used (e.g. the vibrating length — which ...


13

There are big differences between those two scales. The C major scale consists of the following notes: C D E F G A B The C minor scale consists of the following notes: C D Eb F G Ab Bb 3 of the 7 notes of the scale are different so it is not a small difference. It sounds to me like you need to take ear training classes. Ear training can make you ...


13

The synth patches that you want will exist if you build them yourself. :) You might consider studying some of the older musicians such as Keith Emerson and Rick Wakeman. At that time, people usually rolled their own sounds, building them from the basic four waveforms. Also, you might read up on "additive synthesis" which has to do with the theory behind ...


12

Without the key signature is looks confusing and wrong to musicians who are used to reading music in context, instead of just treating sheet music as a "play by numbers" game. It looks like C major, but the notes are mostly confined to the GABCD range, and the theme ends on G. Indeed, an F note will indeed occur in harmonizations of the theme. For instance ...


12

Your fallacy here is in thinking that "people with much less talent than myself are considered stronger musicians just because they know the "right" fingerings?" Listen more closely to what you have actually been told: "they say that the fingerings are an absolute must." Unless you've left something out, they never actually said you are a worse musician for ...


12

The black and white bits are the same, except you will probably only get 49/61 of them instead of the 88 you're probably used to. The action will be rather different, too. No matter how loudly or quietly you try to play, the volume will remain the same. There is no sustain pedal, so that will be different, too. You'll have to acclimatise yourself to playing ...


11

First question : there is no rule, no "max limit" between notes. Sometime you'll have to figure out yourself the way you spread the notes between your two hands (try the Bach chorales... you're a conductor with four voices, the relative heights of the notes are written relative to the singer's tessitura, not the keybord player's hands). You'll also face ...


11

In piano, the staffs usually signifies what hand plays what note where the lower staff would be your left hand and the upper staff would be your right hand. While the clefs are important, you may see the same two clefs on a grand staff. In Imagine you can see there are two bass clefs because the piano part is low. It is kind of an unwritten rule of thumb in ...


11

It's obvious when you think about it, but the biggest difference between an organ and a piano is the way their sounds decay. A piano is a hammer hitting a string. The loudest sound is right at the beginning, and from there on the sound decays organically as the string returns to rest. If you let the dampers do their thing, the decay is shortened, but it's ...


10

Yes, but this phenomenon is easily explained by classical physics. If you hold down the sustain pedal on a piano (thus releasing the strings to vibrate freely), any instrument nearby playing a tone that is matched by one of the piano strings will cause that string to vibrate in sympathy. The tone provided by the voice, trombone, second piano, violin, etc. ...


10

This is a myth. An untrained person with large muscles will be just as clumsy as an untrained person with wimpy muscles. Fine motor control is a skill learned independent from the rest of the muscles in your body - if it were related, all brass players would have gi-normous lips and pianists would have gi-normous hands, and as well all know, this is simply ...


10

This kind of playing (reading from lead sheets/fake books) is inherently improvisatory, so the prevailing wisdom should always be "do what sounds good". There are a billion ways to play any given chart in a fake book, so keep in mind that you're not looking for one right answer. If you're working on a specific voicing technique, then the first thing I might ...


10

Music is a performing art, and a performance is not (should not be) an acoustic "printout" of the score. Each performer gives each piece's performance his/her own personal touch, timing, energy, and interpretation. Each recording environment (be it a studio, or specific concert hall) affects the character of the performance. I'm not saying that every ...


10

Yes, both piano music and recorder music are written with the same kind of music notation, using the same kinds of symbols. The pitch "A" on the piano and the same pitch "A" on the recorder are written with the same musical note in sheet music. I do not know, but I suspect that the problem your daughter is encountering is of a different nature: On the ...


9

It's a tremolo. There are two types of tremolos. One between two different notes like in your example above and a second with the bars going though the stem of the note. In your case, it is like a trill where you go back and forth pattern them in that patter as fast as you can for the duration. Here is the link I used to confirm the ...


9

This is tremolo notation. The beams indicate the speed of the tremolo. In the first bar, you should alternate between the D-F# chord and the A in 16th notes. In the second bar, you should alternate between the two sets of notes in 32nd notes technically, or "as fast as possible" if 32nds are infeasible.


9

Practice scales. Piano teachers always ask their pupils to practice scales. It's seen as a chore, and many pupils wonder why they have to do it. Well, the answer is, to solve your problem. Practising scales, arpeggios and ultimately chords and pieces in a particular key, teaches you the sharps and flats in that key. It teaches you the fingerings that work ...


9

The short answer to this question is that musical notation evolved over centuries in a relatively haphazard way. Many aspects of it are optimized for situations that no longer exist, or assume limitations on musical conduct that we no longer respect. A lot of it is arbitrary (why five lines on a staff?). To take a most obvious example: the clefs that we ...


9

Getting an even touch with alternating fingers might feel hard at first. However, try knocking the table with one finger and alternating two or more. You find you can tap a lot faster in the latter case. This speed reserve gives you more overhead and more control. On the other hand when you're playing two different notes you're mostly using different ...


8

I'm no expert. From what I understand, the idea isn't to make your hand stronger. The idea is to play so relaxed that playing a long time feels like a breeze. So don't work on tempo until you've got the relax thing down. The relax thing will only get burned into place from slow exact careful practice and (many) good night's sleep(s). Practice is the ...


8

They are assuming you are using finger 4 on the top D#. The reason to switch from 2-1 is that if you ended up with 3rd finger on the G# and 4th finger on D# above, it is too far of a stretch. If you are playing the high D# with 5th finger it won't feel so uncomfortable, but then you can't connect the melody notes with finger legato. The finger switch ...



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