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20

There is a rather more fundamental, physical reason for this than so far mentioned: the bass fills not only the bass frequency range, but its harmonics actually reach well into the midrange where all other voices have their fundamentals! In fact, since the bass has typically the strongest amplitude1 of all tuned instruments (save perhaps trumpets, lead ...


12

The last chord harmony of most pieces give a feeling of ending. (It would, wouldn't it - otherwise the piece goes on, potentially).With no key signature, shown, a piece could be in C major or A minor. This last chord gives a big clue as to which key the writer thinks it's in. The presence of G#, showing usually a V-I cadence is also a good clue, except that ...


11

It sounds like she may have been talking about the Tristan Chord, a famous chord from the opening of Richard Wagner's opera Tristan und Isolde. While it can be enharmonically written as a half-diminished 7th chord (F-A♭-C♭-E♭), it does not resolve in the way a half-diminished 7th chord would, nor is it written as a half-diminished 7th chord. For this ...


10

Your question is very vague, but I'll try to answer it to you anyway. You are actually pointing at three different skills: Songwriting Composition Musical Knowledge I'll explain to you what these skills are and how to learn them. Songwriting Have you ever seen a dude with a guitar playing love-songs in a corner surrounded by pretty girls? Yeah, ...


10

The difference between a sextuplet and two triplets is that the two triplets are clearly substructured into two units. The sextuplet in contrast may either be substructured into three groups of two notes, or it may not be substructured at all. If you have one ascending run (for example) written as sextuplets, chances are that the composer intends you to ...


8

The song could be on G# major; It would be easier to say it's in Ab major scale. These two are the same scale and they are called Enharmonic scales. (I'm using Ab because it is more common and easier to understand). Here is how: Ab (G#) -> 1st chord of your scale. Ebm (D#m) -> 4th of the minor scale with the same name (Ab or G# minor) -- you are allowed to ...


8

You can't tell for certain either which key this is in, or which chords would appear above these bass notes, but for different reasons... This short excerpt of music has only four pitches: E, D, F# and G - these notes are found in the scales of several keys: G Major and its relative minor E Minor (natural minor) have these notes: E, F#, G, A, B, C, D D ...


8

You're not breaking any unwritten rules here. It is in fact pretty common to use the 5th of the chord leading up to the root a fourth higher in the bass. However, in your bassline the question is if you really mean an A minor chord in the last bar. If you hear an A minor chord over both bars in the bottom line then - by definition - that's the way it is ...


8

There are many different ways to approach playing bass and depending on what style you are trying to go for it may be all you need to fill the sound. I'll explain a few simple styles and techniques that can spice up a bass line. Octaves Rather simple, but effective. Your still playing only the root note, but changing the octave is a very simple and ...


7

A is tonicised (the term we use) rather than C. That means that the tonic chord, the one that defines the key and resolves all harmonic motion, is confirmed by various means as A minor. Tonality is defined by a hierarchy of interval relationships, the strongest being the relationships of a fifth and a fourth. In the key of C, that would be G and F ...


6

At one point in time (mainly the Baroque period,) a common way to notate a keyboard part was to simply write the bass part and then notate with numbers what intervals above the bass note were needed to complete the chord. This is called figured bass. So, for instance, if you wanted to indicated a root position 7th chord, you would write 3,5,7 below the ...


6

Typically, in traditional classical music, non-harmonic tones like suspensions are not indicated in the Roman numeral analysis. You would simply notate the numeral and inversion for the chord to which you are resolving. Here's an example: In jazz and pop music, on the other hand, you may find the chord analyzed as IVsus or IVsus4, for instance. This is ...


6

The tonic in C major is C major; the tonic in A minor is A minor. The key signature narrows it down to one of the two. An imperfect method to distinguish between a major key & its relative minor is to analyse the "chord" created when the main theme resolves. In the case of Beethoven's 7th, movement 2, this occurs, for example, just before the violins ...


5

If I'm not mistaken, the way to symbolize this is: IVsus or IVsus4 (or IVsus4). (Usually, when you see a IVsus chord, it refers to a sus4 chord, but not everyone writes it this way).


5

How you describe the harmony (chords) at a point such as the beginning of bar 4, depends upon what any chord symbols are going to be used for. There are in fact several ways to notate the passage you're describing. (For this answer I'm assuming that you do indeed want an Am chord sounding with all the bass notes in bars 3-4). Here are some options: if you ...


5

The first suggestion I would make is learn some music theory. While not necessary, music theory can help make sense of what your doing. For example, lets say there is a song that rotates through a very basic I-V-vi-IV progression. Music theory will help you understand not only how the notes of each chord relate to each other but also allow you know what ...


5

The other answers have good detail on the theory of the chords and scales, so I decided to give an example. You mention the second movement of Beethoven's 7th Symphony as an example. There are no sharps or flats in the key signature, so how would you tell whether it's in A minor or C major? Let's take a look at that, shall we? Here's the opening chord: ...


5

You are right. They have exactly the same rhythmic values. It would make more sense to use the sextuplets unless: the music obviously accents two groups of three notes per beat. the music often intersperses quavers (8th) notes with groups of triplet semiquavers (16th). In either case where you use triplet semiquavers, I would group pairs of them with a ...


4

I'm not 100% sure what your goals are since I see a conflict between using the tone net, which just goes off in all directions with more and more sharps/flats, and your goal of limiting/manipulating the number of sharps and flats. In conventional music the key signatures are (usually) selected so as to avoid double-flats/sharps and the use of chromatic ...


4

There is no standard way by which musicians create music to represent mathematical patterns, equations, or other entities. Whenever someone does undertake a project like the ones you found, what they do is create a custom, non-standard mapping between mathematical objects and musical objects or parameters. For example, I once wrote a very simple song to ...


4

There are many ways to deviate from the pattern. In this example a very common pattern emigres from the circle of 5ths. The chords don't belong to any one key, but rather come from multiple keys. You start with a C and go to G (I to V in the key of C), then you go from a G to a D(I to V in the key of G), then you go from a D to a A(I to V in the key of D), ...


4

It's figured bass. The numbers correspond to the interval between the bass note and the notes above the bass. In root position you have the intervals 3, 5, and 7 above the bass. 5 and 3 are just standard triad intervals so the it is simplified to V7 In first inversion you have the intervals 3, 5, and 6 above the bass. We have just a 6 to denote a triad in ...


3

In my music theory class in college, a suspended chord was written with its resolution, e.g. I⁴⁻³. We didn't get to the point of unresolved suspended chords, as used in jazz.


3

Music and maths are indeed closely related (there are innumerable books on this topic), but your question appears to put cart before horse. Musical notation is a product of underlying mathematical models, western musical notation just one of many. Tastes do differ, sometimes wildly. :-) Nevertheless, at a fine grain there are indeed a multitude of formulas ...


3

This is not a rigorous, scholarly answer, but a useful one: There is a simple, general principle in writing Western music that has been mentioned by many people over the centuries. It basically says that a piece of music has two important components: the melody up top, and the bass line down low. The chords are determined by filling in the spaces between the ...


3

For instance this? choord: | D | | G | | D | | note: | D - - - | A - - - | G - - - | - A B C# | D - - A | D E D C# | Bm | | G ... B - - F# | B C# B A | G ... Most commonly, the bass would play the root (1st) and the dominant (5th), and less commonly other notes of the ...


3

"...is there a rule conductors use for ritardando in terms of (a) its rate, (b) its change in rate, and/or (c) the relationship between the final tempo and the tempo of the piece?" Not that I'm aware of. Such a rule would be of little value, because -- unless you're practicing with a drum machine, or other device that permits varying tempo -- there's ...


3

It's the old chestnut that stems from the fact that tunes in minor keys can, and do, use three different sets of notes. The three sets of notes (scales) are natural minor, harmonic minor and melodic minor. The lowest 5 notes for all are the same, but the natural minor uses the notes 6 and 7 that are found in its relative major. As in your key of Em, note 6 ...


2

A lot of Western music falls into the broad category of primary melody on top, a lot of stuff in the middle, and bass line on bottom. The outside lines--melody and bass--are easiest for our ears to distinguish because they are the lowest and highest boundaries of each vertical slice of harmony. The inner voices are often (but by no means always) less ...


2

Using Roman numeral analysis you can look at it as a I - viio/ii - ii7 in the key of F, but I would look at it slightly differently see below. Roman numeral analysis doesn't work in all cases and in fact I wouldn't give this chord a roman numeral since it is a chromatic passing chord between two chords in the key. Think of it this way you are going ...



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