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9

All transcribed notation is an approximation. The classic dots and stems are simply not adequate for many types of music. But before we even talk about transcription, consider that many composers have conceived of sounds that are far beyond the status quo -- often called the avant garde, but not necessarily so. Many of these composers have then invented ...


9

Dave is right, but there's a little more to it. You can break the part up into two different lines. One that looks like this: And another that looks like this: When you put them together, you get the two part represented by different stems. It's pretty much telling you to hold the first note for the length of a quarter note, but play the set of notes ...


5

There are two voices in this music: the lower plays f, then e as quarter notes; Note that the downward pointing stem's don't have flags/beams -- thus they are quarter notes. the upper plays f <a d> e <g c#> as eighth notes This is the way to write music where more than one voice happen to execute the same note at the same time. If you ...


4

There is a notation form I have come across called Sagittal notation. It seems pretty comprehensive for microtonic notation. The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the ...


4

To build on NReilingh's great answer, anything* is transcribable. Transcription is just making music so that it can be communicated visually to another musician. Most conventional music makes a trade off between detail and legibility, with things like tempo, phrasing, and articulation rendered by general, fairly ambiguous symbols. Transcription focuses on ...


3

Most pieces have the melody played by R.H. and accompaniment by L.H. So we piano players get used to this concept. This is the other way round, and the L.H. is playing the tune. Our left hand is not au fait with this, so it's tricky. You could try, for a bit of fun, swapping hands (and either octaves, or crossing) so it's more of a 'normal' situation. ...


3

The two things required to understand this piece are: tie and slur symbols look the same but have different meanings. in piano music, especially polyphonic, you can have many melodies (think - virtual staves) squeezed into a single staff. The slur / tie problem: If you tie two notes (they need to have the same pitch), it is always played as a single ...


2

This score writes three voices. The lowest voice is in the lower staff, stem down. The middle voice is in the upper staff, stem down, its rests close to the bottom staff line. The top voice is in the upper staff, stem up, its rests close to the top staff line. As the piece progresses, the middle line (if I remember correctly) will likely venture into the ...


2

Generally, notes with up tails are deemed to be 'the melody'. Notes with down tails, as here, are ' the accompaniment'. Thus, the tune starts with two notes that are not the melody. There are three lines to this tune, and since the top line doesn't start immediately, it needs a rest shown. Similarly, so does the middle line of notes. That 'eighth note' is a ...


2

This is what this score is saying: 1st 16th note, play and hold middle C with your left hand. 2nd 16th note, play and hold the E above middle C with your right thumb. 3rd - 5th 16th notes, keep holding the E with your right thumb while other fingers of your right hand complete the arpeggio. 6th - 8th 16th notes, keep holding the E with your right thumb (do ...


2

One possibility that is seen in Hebrew occasionally is to print a mirrored score (including all symbols) apart from the lyrics. Most of the time, however, you just get the score straight, and the lyrics left-to-right, syllable by right-to-left syllable. I would imagine that it takes some practice singing that.


2

Partial answer : The circled numbers are the string numbers and the uncircled numbers are the finger numbers. For example, the first chord annotation asks you to play the F-sharp by placing your 4'th finger (at the 7'th fret) of the 2'nd string (i.e., the B string), and to play the D-natural by placing your 3'rd finger (at the 7'th fret) of the 3'rd string ...


2

It probably is trying to indicate that the following two bars is played in the second position. (fret 2 to 5)


1

You have to understand why playing dynamics make you fail both hands. My guess is that it makes you anticipate the next notes and because you are probably too shaky in both hands, you fail in putting them together. Try combinations of the following: continue practicing hands separately with dynamics play slowly both hands without dynamics, and with ...


1

Before you do ANY dynamics, you must be able to play the piece with both hands almost flawlessly. Dynamics are there to be added after the technique has gotten perfected. Play like a robot a few times, then once you've mastered that, you must accent the left hand melody more than the right. Again, no dynamics other than that. Once you've gotten that down, ...


1

Play the two hands separately slowly, noticing whether you're playing the melody or the accompaniment.


1

Slow down until you can play it (even if it means playing extremely slowly). Then gradually increase your speed.


1

By what you explain, it sounds like you want to repeat a section 3 times. You don't need to use a Coda and Segno because a closing repet can be used more than twice as seen in the Guitar Pro manual: Repeat close This symbol replaces a closing bar-line, and sends you back to the last Repeat open sign. A dialog window will open up for you to ...


1

You are correct, a 7 inch Android tablet limits your choices somewhat. I have both a 7 and a 10 inch (hi res) tablet and the bigger size really helps a lot. And iPad has a lot of great apps. That being said, you should give the Fakebook app a try. While the Orpheus app recommended above is good, the Fakebook is much more suitable for gigging: - it loads ...



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