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24

Yep, the second one is far better for precisely the reason you say. A general rule is that you shouldn't have dotted-notes that start on an off beat and carry through the next beat. There are exceptions even to this rule, but showing the underlying beat structure of the meter is paramount in the vast majority of situations. Elliott Carter is an example of ...


20

One option if you're primarily interested in representing the individual digits of pi is to use a representation in a base other than 10. For example pi base 12 would have an individual digital for each chromatic note. Here's a website that might help get you started: http://www.virtuescience.com/pi-in-other-bases.html


12

He is referring to the harmonic minor scale. Each minor scale has three variations: The Natural Minor - the exact notes of the relative major: C Major: CDEFGABC A Minor: ABCDEFGA The Harmonic Minor - Used for harmony in Western Classical, as it better implies a resolution from the V - I, since it involves the leading tone, which has a ...


12

The list above is a great start. I'll add a few names below, but first let me speak to the technical question. There are a few basic techniques that characterize so-called minimalism in music. Not every minimalist or post-minimalist uses all these, and a number of composers who used to be called minimalists have changed style dramatically over the years, but ...


12

The number 10 doesn't necessarily map well to values in traditional musical theory. (For instance, there are 12 chromatic pitches per octave, using conventional divisions of the octave; diatonic scales have seven pitches; note durations are related as powers or negative powers of 2). So, for this reason, the world is your oyster! I guess you can choose any ...


9

There are a lot of different kinds of Minimalisms, so my first suggestion would be to explore a bunch of different composers with extremely open ears: Philip Glass - Personally, my favorite work is his opera Einstein on the Beach, but his string quartets are also great, and the piano etudes can be a nice introduction. His work tends to still operate within ...


9

In my experience, unfortunately, writing melodies is one of the most "magical" parts of writing music. Some melodies just sound great, some just don't. There are, however, a few things to keep in mind that can help you deliberately write a melody for a particular emotion or style and help you understand why a particular melody sounds good. Intervallic and ...


9

I think you're about right. Homophony is the concept of a single 'line' as such, potentially split across several parts, but all moving at the same time - parts mainly follow the same rhythm. Polyphony is when there is multiple melody lines at the same time, interacting with each other. What's important to remember is that there should be a degree of ...


8

A double-sharp would raise a flat note by a tone and a half (three semitones). A double-flat would lower a sharp note by a tone and a half (three semitones). Having said both these things, if you have a piece that is changing a flat note to a double-sharp, or changing a sharp note to a double flat, it is likely that you could use a much better enharmonic ...


8

If you are referring strictly to music written obeying to traditional rhythmic conventions (with rational time signatures and regular/even division), then your second example is more suitable. Please keep in mind that the first example is not wrong, but the second will make sight-reading much easier, as our own expectations when seeing a piece in 4/4 make us ...


7

Since both of them are flat, it is the same interval they would be without flats. So: Bb - Eb would be the same as B - E which is perfect fourth. Bb - Ab would be the same as B - A which is minor 7th. Bb -Db would be the same as B - D which is minor 3rd.


7

This is a Very Hard technical problem, so very few sites or apps do it. The ones that do are inaccurate most of the time, either in subtle ways or in super-obvious ways. The expectations they set in their marketing copy are way out of line with the realities. Some products to try: Chordify, Riffstation, Capo (Mac app). Prepare to be disappointed. :-) ...


7

I would say that since Music is a hobby for me and I do not plan to play in any kind of band or such learning to sight read isn't really important. It depends on you. I prefer reading normal music sheets rather than tabs or whatever, but this is just me. If you have time and energy to learn how to sight read,it most certainly won't be wasted. but ...


6

I use a simpler method; counting semitones. A major third has 4 semitones. So using your example I would think of A, then count up four semitones (Bb, B, C, C#) landing on C#. Interval, Semitone Count Unison, 0 Minor Second, 1 Major Second, 2 Minor Third, 3 Major Second, 4 Perfect Fourth, 5 Tritone, 6 Perfect Fifth, 7 Minor Sixth, 8 Major Sixth, 9 Minor ...


6

The central basis of a multi-tonic system is that the underlying scale or primary note collection is symmetrical, thus allowing several notes within the collection to behave as tonic since they are all approached and left in the same way. In other words: in a C major scale, the tonic has an entirely unique relationship to the other six notes of the scale—at ...


6

Not a stupid question at all! But, yes, only the bass note is taken into account when naming the inversion of a chord. The voicing above this is unimportant. Indeed, the bass note may be doubled, as can any other chord-tones. (Although, this may be inappropriate, if following the rules of specific styles of harmony or counterpoint.) Also, notes above the ...


5

Yes, you are thinking of the key in a way that's a bit rigid. This is perfectly understandable. When you see a song, you're trying to look at its notes and figure out what key it's in so you can understand it. It almost seems like those out-of-key notes would throw off your calculation and make it harder to figure out. I would say even more important than ...


5

The answers provided here offer a useful trick, which is to quickly translate into a scale you already know to find the answer. For instance, if you know that C to E is a major third, then it must be the case that Cb to Eb is a major third and also that C# to E# is a major third, too. It's fine to use this trick when it comes in handy, but it sounds like ...


5

Here's a common chart showing how the notes break down: Notice how each row is a full measure in 4/4. The general rule is that a note can span its direct children, or one of its children and one of its nephews. That is, a quarter note can span the 2nd and 3rd eighth notes, but not the 4th and 5th. A dotted note can only borrow from its sibling, not its ...


5

Pi can also be expressed through various infinite series. I like François Viète series discovered in 1593: Square root from 2 is half octave distance. Maybe it is possible to represent the series as some sequence of sounds? Or maybe some other series would fit better? This might reproduce the spirit of Pi even better than replaying its decimal ...


4

One trick you can use is to remove the accidental from your starting note in order to make it a more common major scale, and then add the sharp back to the answer at the very end. I'll use your example: I want a major 3rd above G# Using your method, I know the answer should be some kind of B Whoa, G# Major is a crazy scale! Let's pretend it's just a G G ...


4

In common-practice music the seventh scale degree is usually raised, but not always. It's raised when it's part of a V or viio chord, and often during rising melodic lines. It is usually back to its natural minor state however in III chords and i7 chords and generally during descending melodic lines. The sixth degree also sometimes get raised in minor. In ...


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, ...


4

Wheat gave a very good explanation of voice leading and I thought I'd just add a bit about counterpoint. Up until relatively recently (1600s/1700s) the concept of a chord wasn't around - composers may have thrown a C-E-G out there but they didn't refer to it as a 'C Major' chord. However there were certain rules prescribed that told what was legal or ...


4

Usually, polychords are written like this: (with a fraction). So, let's say you have Am {fraction} G7 and we are in the C major scale. You could symbolize that as VIm {fraction} V. Notice that for the polychords, there is no slash, but a fraction. Slashes are for the slash chords or hybrid chords (inversions). For the slash chords inversions, if the ...


4

One Idea I haven't seen mentioned is rhythm. Perhaps you can use some of the spare digits as a change in pace (f.e. switch from eights to quavers). Or you could map the spare digits to pre-conceived rhythmic motives. Another idea would be to use the digits that are not mapped to a note to switch instrument. HTH.


3

I still think it's actually a game of "Where's the One?" Rather than it actually modulating signature, it just throws you by allowing you to believe that the intro is in 6/8 rather than 4/4 triplets. Simple experiment, put a count on it & a very simple swung 4/4 under the first 4 bars, then let it continue into the existing piece, untouched... ...


3

Those are called "passing tones" or "non chord tones." They are very common in music and they can sound really great, like in Day Tripper :) http://en.wikipedia.org/wiki/Nonchord_tone No you're not crazy to ask this. This is an often un-discussed feature of music, and it's actually very intelligent of you to realize it.


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 ...


3

This is not a question that lends itself to one definitive answer. There are certain methods where there are differences in thought. I can tell you what I was taught, but it would be better to ask the person who is in charge of your exams to give you clarity on what he/she wants. Here are some general principles: Primary Chords: Double the root Secondary ...



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