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7

I'm sure someone more experienced will come to help, but for now, here are some suggestions: Make use of dissonant chords. In particular, augumented fifths, and diminished major sevenths. In particular I'd just look into the various scale modes (e.g. Lydian) and pick out chords from there. If it's a slow horror song I'd suggest using a Dorian mode for ...


5

Yes, it is possible to audio quantize in Reaper and all popular DAWs. In general you'll find two different approaches to audio quantize (or a combination of): with or without time stretching. The best results will depend in the material you are modifying. Without time stretching (which is nothing more than cutting a piece of audio and putting it somewhere ...


5

You will run into this a lot — basically any time the arranger or composer is trying to make it clear that it should sound like more than one voice. In fact you find it everywhere in the keyboard works of JS Bach, where it can be challenging to play the voices clearly. The way to play it in the 3rd measure is as if the first G was a dotted half note tied to ...


5

As with many questions on this site, the meat of the answer is, practice. What seems difficult now, will seem much easier after practice. However, there are some things you can do: You may need to explicitly count while learning a piece, but once you know the piece's rhythms, you shouldn't need to. So forget about dynamics until you know how the piece ...


4

Lots. write the count out in pencil on your score, so you're not trying to remember what comes after "three" when you're trying to play and you aren't decoding what pitch goes on which count in realtime. practice just the rhythm clapping it, chanting it, playing it on the tonic note. practice counting aloud with a recording of it to get a feel for it. ...


3

On the third measure, you play the chord, and hold it for 3.5/4 of the measure. At the last eighth of the measure, you play G again and on the 1st beat of the 4th measure you play the chord again (thus you also play the note G again). On the 11th measure, you play the chord, then you play the notes that follow: Bb, G, Bb, C, Bb and then on the next measure ...


2

The answer is "No." Everything can be counted. It's like Science - the rules of traditional physics breakdown at the quantum level, so you need new rules to understand the different physics. Counting / rhythms operate the same way. The "magic" system that allows everything to be counted is the Indian Carnatic System which allows for any number of ...


2

The existing answers have a lot of good advice, especially as regards transitioning from counting the beat to feeling the beat. As an intermediate step, you might tapping your foot in time instead of counting. As you become more comfortable, you can progress from tapping the entire foot to just tapping a toe -- which no one will even know you're doing if ...


2

The approach you are using now is to learn play the rhythm by seeing it visually. You can also come at the problem from the other direction: learn to play the rhythm by ear, then learn what that pattern looks like on the page. For me, the second approach is much, much easier for complex or off-beat rhythms. Find or make a recording of the challenging ...


1

A metronome is simply a timekeeper. It does get used for technical practice such as scales and arpeggios, which, for exam purposes, need to be played in military fashion. Apart from that, there are not loads of songs which use consecutive notes from a key (scales) for more than a few notes. So being capable of running up and down scales to a ticking ...


1

I guess you're asking about the G note which is written as held for 2 bars, along with the Bb, except that you're told to play the G again, at the end of bar 3, while it's still pressed down. It's not written too well, perhaps simply, to show that the Bb+G are one voice, while the tune is another. To do it correctly, maybe the G should not be shown as held ...


1

You're definitely on the right track. Modifying the tempo of whatever you're working on is crucial to developing your skills as a guitar player. Playing with a click (the metronome) is very important in developing what I call your "inner metronome". If you can't play on beat, then when you play with a band or have to perform by yourself your tempo will be ...



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