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0

learn about beatmapping and the beatmapper wizard in SONY ACID Studio..works great for me! Stretch and fold your drum tracks to match the metronome and presto you can record other tracks onto it with ease!


3

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 ...


4

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 ...


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 ...


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

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. ...


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 ...


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 ...


0

Count each beat with your mouth. In a 4/4 measure you would say 1 2 3 4. For eighths, add an and (+) in between, counting 1 + 2 + 3 + 4 +. Then, add sixteenths. The second sixteenth is e and the fourth one is a, counting 1 e + a 2 e + a 3 e + a 4 e + a. Triplets are 1 + a 2 + a etc. For more complex tuplets, find a word with that number of syllables ...


0

It's subjective. Some people just seem to have inbuilt good timing, others, who've played for years, don't seem to notice a skipped beat, an added beat, slowing down, etc. And for those, a metronome probably won't help. I've tried drum machines with them, and they didn't help either.Generally they're folks that play by themselves for long periods. It ...


0

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 ...


3

There's a lot of difference between 'noodling' or 'widdling' and improvisation. One can use, say, a pentatonic and noodle over a three chord wonder all day long, playing long extemporisations without any mistakes being apparent. This can, however, be a great point to take off from.Only using, say, 4 of the notes, play a motif, perhaps 6 notes long. Over, for ...


4

You can establish a theme that you come back to again and again, and then use as a jumping off point for further improvisation. The theme doesn’t have to be long or complicated, and it’s probably better if it’s not. Think of the theme as a chorus, and think of your improvisational stretches as verse. As long and wild as your improvisational stretches may be, ...


0

Playing Johann Strauss Waltzes will assist in acquiring the "body feel" of the three half notes against two dotted half notes, sometimes called "hemiola."


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I would be curious as to see a real life example as to why this would happen. Time signatures at there core tell you how many beats there is in a bar and also what each beat consists of. When you take 3/4 time. It tells you in essence that we have three beats of crotchets. If you would take this and make a compound time signature you would basically put a ...


1

Think of 9/8 like this: 3/8 + 3/8 + 3/8 So therefore 9/8 is basically a combination of 3 8th-note triplets. If you want the original triplets, you will have to go for 16th-note triplets for each of the 9 8th notes.



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