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First, I don't agree with that interpretation personally (if that's what Chopin had wanted, he would have written it that way, meticulous soul that he was), so I wouldn't put too much stock in how something "should" be played. In this etude, the voices are this flying passage and the melody in the bass. Breaking it up further is artificial-sounding. ...


Covering the hole would bring the note down to Bb 3. With the hole covered (or no hole at all) you would get a standing wave with a wavelength of twice the length of the instrument as the fundamental pitch. The reason for this is because the instrument is a tube capable of holding pressure in the middle, but not capable of holding pressure at either end ...


It's actually can be looked at modally as a chords from the Phrygian/Phrygian Dominant scales. The Phrygian scale due to its lowered third is viewed as a minor scale and thus contributes to the "sadness" you hear especially since the A would be the 3rd of the Phygian scale giving the progression a slightly more minor sound even using just major chords. ...


Play the notes as written. The notes on either clef are defined and fixed. They do not change. You could write any note on any clef, given enough ledger lines. Some instruments have a tradition of switching between clefs quite often, while others have a tradition of using ledger lines instead. The rules of notation say you can switch clefs or use ledger ...


Perhaps I've misunderstood the question, but how about using lilypond notation? A whole note is denoted with a "1", half note "2", quarter "4" etc. For dotted notes add a ".".


Yes, a 4/4 measure can accommodate figures smaller than 16th notes. There are 32nds and 64ths and 128hs and 256ths! There are triples of 16th notes that are smaller than the normal 16th notes. There are irrational rhythm groupings, called tuplets; values like quintuplets (5 notes) and sextuplets (6 notes) and groups that have 7,8,9,10 notes in them,. ...


I v IV would be correct, because what seems to be going on here is that you have 'borrowed' a chord from D natural minor scale. The v from the D natural minor is Am, and it is common to borrow chords from the parallel minor scale (scale with the same name); (the same happens when you are in the minor scale; you can borrow a chord from the major scale)


fun topic. https://youtu.be/eu2iv-vMKT8 let's take this famous song as an example. the intro is undoubtedly a riff. it is also a melody. it is repeated throughout, along with slight variations and added 'licks'. it is a compact, isolated and contained series of notes, but with almost no obvious rhythmic function, yet it still is a riff. the primary notes ...


You would read it as treble clef. It is common to change the clef if the notes start going high. This way you can avoid adding a lot of extra lines above the bass clef, which makes it harder to read. It is possible (and quite likely) that in some point in the song, the clef will go back to the bass one.


well, midi is the only standard that turns note durations to integers. you take a particular resolution in ticks per quarter note. so let's say your whole note is 768 (=256*3) it's divisible down to the 256th note and can be a triplet. Or you can use higher resolutions for more precision, maybe multiply by 3 a few more times. keep in mind that held ...


I believe the sad impression is most of all due to the chromatic descent B - A♯ - A embedded in these chords. It has a kind of disillusioning effect: you start out on a nice major third of the G chord. But then you drop down to F♯, whose A♯ third is enharmonic equivalent to the G chord's minor third. Normally this wouldn't be perceived as ...


In abcnotation note length is specified relative to a unit note. So if unit note is quarter, an eighth is A/2, a half a2, dotted quarter A3/2. Since it was originally developed for transcribing folk music, various short hands are allowed. More details at http://abcnotation.com/wiki/abc:standard:v2.1#note_lengths.

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