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13

If you mean can one compose a melody using notes that are not defined in any recognized form of musical notation - then the answer is certainly! And if you compose a musical work that uses tones that are not defined in say 12 Tone Equal Temperament or other common tuning or notation system, there is no universally accepted way to transcribe those tones ...


11

It could be argued that any digital recording of the melody in question is a notation of that particular performance: It's something that can be followed to reproduce the original performance. It can be written down (any digital recording is made of bits that can be encoded as ink on paper, if need be). Anyone with the right training and equipment can use ...


10

Sure. Here are some examples of scores by John Cage, Steve Reich, Brian Eno, Krzysztof Penderecki, and Cornelius Cardew - all recognized "mainstream" 20th century composers. http://www.smithsonianmag.com/arts-culture/5-12-examples-of-experimental-music-notation-92223646/?no-ist


8

Studying lullabies? That sounds kind of interesting, actually! The lullaby is typically a soothing song, and it's typically used to help someone fall asleep. Indeed, the German word (Schlaflied) is literally "sleep-song." As such, I think it only makes sense that it would be a slow tempo instead of a fast one, don't you? As for the high tessitura, I can't ...


7

Cm6 is C-Eb-G-A. It's Cminor with an added 6th note. Note that the 6th note is from the major scale and melodic minor ascending scale, not the harmonic or natural minor.


5

It's going to vary, and you have to remember that there are also a lot of pros that learned by listening and copying what they heard on records without learning to read music. Notes can be known "personally" and this includes knowing all the various chords and scales as they relate to them. There may be no names or functions involved--I think of it as a kind ...


5

Certainly current musical notation is incapable of handling note durations that aren't rational multiples of each other. For instance if you had a melody where one of the long tones was pi times the duration of one of the short tones then there is no way to explicitly notate this (it is possible to get as close an approximation as is desired though).


5

The melodies of Turkish classical, Arabic, and Hindustani have all come to terms with various means of notating their microtonal and non-Western tones and intervals, the Turkish Makams being, probably, one of the best of such systems. Still, all notation is just a guideline. Instruments that play glissandos by sliding on strings or by any other means ...


5

I don't have any examples, but there are melodies (possibly stretching the definition of "music" a bit) composed mostly or solely of "effects", like "a crashing glass", "a gunshot", "a ringing telephone", "a low moan", "the sound of a cat" etc. You could adapt standard notation for it, but a great part of your music would be in the "legend" (which effect ...


5

Yes, it's called Polyphony (if I understood you correctly this is what you mean). This is when multiple lines of melody are played simultaneously. You can pretty much pick anything by Bach and get a good example of polyphony. Or Rachmaninoff's second sonata... there are numerous more examples. It's actually not that rare. As an example (not for polyphony) ...


5

You could say it's imitation: In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. Wikipedia uses this example from Bartok's Mikrokosmos, which is similar to yours: Also, this example from Bach's Fugue no. 16: The 1st violin imitates the 2nd violin at the start of ...


5

I am unsure of anything that systematically analyzes orchestration. I've worked with the Adler, the Berlioz, and the Rimsky-Korsakov. This is quite a broad question because indeed orchestration is extremely subjective. You can find more systematic approaches in spectralism, for example. It is interesting because often orchestration is judged objectively. I.e....


4

Cm6 is C Eb G A. C minor triad with an added sixth. It's one of the extended chords that doesn't fit into the "pile of thirds" hierarchy, it's not a Cm13 (C Eb G Bb D [F] A) with missing notes! And it's just fine in the key of G. Here's a common, corny even, useage - firmly within a G major tonality.


4

Looking at the site you linked and clicking on each fret to change the pattern, there are actually only 5 (not 9) completely different distinct patterns that repeat. Several are exactly the same notes and some show a slight variation on the same basic "pattern". Allow me to expand on some of the other answers. The basic patterns for the minor ...


4

It's actually a very big difference. C♯11 is easily seen as an a extended chord that contains the notes C♯, E♯, G♯, B, (D♯), and F♯ though typically the 3rd (E♯) is omitted due to the clash with the 11th (F♯). C#4 is ambiguous, but most people looking at it would imply it is a C♯sus4 chord spelled C&...


4

B# and C are basically the same note. They are called enharmonic tones. In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The one note differs from the other depending on the harmony of the song. ...


4

It seems like the answer you are looking for is Tonal Harmony by Stefan Kostka and Dorothy Payne. A simple web search of college level harmony texts turned up more hits on this title than any other. One such page, from a community college, is here: https://www.flccbooknook.com/tonal-harmony-text-only The text on that page includes this description (emphasis ...


4

That image only shows three octaves, even though it shows eight different positions on the guitar where one can play an E. The trick of the diagram is that the E notes that are the same color and are connected in the same line are the same note. They are not in different octaves, but exactly the same. So even though there are eight fret positions where you ...


3

This is a bit difficult to answer, since one person's aggressive might very well be another's bombastic, but see if any of these techniques strike your fancy: Liberal usage of dissonance and/or nonharmonic tones Instead of just rhythmic percussion/brass, try interspersing more ongoing rhythmic lines (or even pure polyrhythms) throughout all of the ...


3

Because music is an abstract language, I'm not sure your question can be answered easily or in any of the ways you described. For me, it's a combination of my mental image of the notes on the staff, vague mental image of those notes on the keyboard, and muscle memory of how both images are supposed to sound and feel. I don't know that I consciously think of ...


3

The 'theory' is that chords from parallel major and minor work well together. Nearly all of these chords are from C major/C minor, which bears this out - except - Bm. So, as Laurence states, not EVERY chord HAS to fit in a certain key, it's just that most times, they do.


3

You've just learned something important. Not all the chords in a song have to fit into one scale. And it's often pointless to MAKE them fit by inventing a constant string of mini-modulations. Look at how those chords DO fit together. C^, Bm, Bb, Am has a bass line that walks down. That's a strong enough reason for the sequence.


3

If I'm understanding the question correctly... generally no, sometimes yes. Generally No Take Debussy's Claire de Lune... The melody is primarily in the right hand, doubled by the same line a third below. If you were asked to analyze this piece and identify the melody, you would single out the top line only (not the doubled thirds). This is because: ...


3

There is rarely one unique scale (key) that a given set of chords will fit into; usually, at least two scales will fit pretty well. Another way to see this: the difference between two scales can be a single note that is different; but if the distinguishing pitch is never played during the song, then which scale is correct? The answer is, whichever the ...


3

The way I was taught to determine a song's key is fairly straightforward: You list the pitch class (all the known pitches in a melody) and use that to determine the key. In this case, we have a collection of chords instead of a melody, so let's use that. I'm doing this more or less in my head, so please consider this a rough draft and let me know if there ...


3

This question is missing a lot of context. It may be that there is no difference, or it may be that the bass line is played on a bass guitar, or there may be the root note of the chord (which may or may not be 'bass') played on any string (although realistically strings 1 to 4 in order to have two other notes of the chord on strings 5 and 6) There is no ...


2

I learned the major and minor pentatonic patterns (which are identical except for which note is the root of the scale) by first learning these five patterns: Then I learned to connect the patterns, first by playing each pattern in sequence up and down the neck and then up and down each string. Then I learned to switch between the patterns starting and ...


2

So if you look carefully at the E Major Pentatonic graph, you will notice that the scales are basically overlapping barred chord forms of E (where the nut itself is a bar for open E chord): E pattern; D pattern; C pattern; A pattern; finally G pattern; repeat. By D pattern, I mean the D chord form barred at the second fret (E major). This is, basically, ...


2

You could be talking about HARMONY. Where two or more voices or instruments are often playing the same timing, but different notes.It doesn't even have to be simultaneous notes, listen to some fugues. Yes, often these notes are contained within the chord at that moment, usually a third or a fifth apart. They will blend with each other. African unaccompanied ...


2

Whether the top line of notes are given or the bass, the concepts of harmonisation stays the same. The melody line tends to be given more when advance harmony questions are asked, as it test the candidate's knowledge on how to approach inversions. Whether you write the bass line or the top line your outside voices have to be written in the style of a melody....



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