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13

It is, I think, a perfectly clear observation that one note an octave above another note sounds as if it were the same in a certain sense. It's certainly common for people to perceive things that way, but it's not universal. Here's a question from someone who complains that they don't hear things that way, for example! shared harmonics alone can't be ...


10

The frequency of a pitch is n. the frequency of a pitch an octave higher is 2n. So, yes the harmonics are going to be very similar, but the first harmonic of the original pitch IS the second pitch in frequency. What you say about an octave and a half (but not exactly, that's a tritone) has caught out several singers in my past, where they pitch on a 4th or ...


7

There are indications of an underlying neurological (and arguably evolutionary) basis for perceiving octaves as equivalent, see for example this discussion. This phenomenon is pretty fundamental in that it is also seen in monkeys and other mammals, but not (apparently) in some songbirds. There has been quite a bit of work on the neurological basis for ...


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

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) ...


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

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

It is true that "measure" is used synonymously with "bar" in North America. Christopher Hasty, in Meter as Rhythm (1997) makes a compelling case for ceasing use of "measure" (in short, that he wishes to use the notion of "measure" more flexibly than the usage synonymous with bar, since in the process of making sense of rhythmic activity we use "measures" of ...


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 ...


2

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.


2

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.


2

Previous to learning scales, for me it was very much hit or miss. Certain notes following each other became familiar, rather like using the same few words in several sentences. When I knew scales, it changed rather. Listening to a piece, a key is established, the sort of scale used is recognised, and the fingers (usually) tend to follow the tune ...


2

As a guitar player, I learned notes by shapes and positions. The same note can sound in various places on a guitar so guitar players learn to find sweet spots on the guitar where a particular melody can be played without shifting position too much. Which shapes? The standard set of shapes are found in the CAGED system but I found that a little too ...


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 ...


1

Aggression might be confused for bombast, as you say, when you use certain timbres and textures. But aggression doesn't always have to be 'big' and 'brassy'; it can come in many other forms, it can even be subtle (or passive-aggressive, if you will!). Perhaps you could go the opposite way to thick texture and multiple timbres, why not strip down the ...


1

Someone asked me to convert and elaborate a comment to an answer, so here goes: I believe that once a level of mastery (being a 'professional', as was termed in the question) is obtained there isn't much thought really, more just expression. To explain, asking someone what they are thinking about when they are talking in a native language would likely ...


1

Awesome question and sadly the significance of it seemed to be missed by a lot of people here. Saying its double the wavelength doesn't explain anything since light at double the wave length looks nothing alike. I've wondered this a lot. Its different to the question "why certain intervals sound better than others". A lot of people are trying for a false ...


1

There are 2 sides to this question: a) What is the same in the tones in an octaves, which isn't the same in other intervals? (physics) b) Why are we able to percieve this? (psychology) I'll try to answer the first part of the question: What really is the same are the overtones. Suppose note 1 has a frequency of n then it's overtones are: 2n, 3n, 4n, 5n, ...


1

When you add harmonics to a fundamental sine wave, the periodicity of the result remains the same: whenever the waveform of the fundamental repeats, that of the harmonics repeat as well. There are no beatings or artifacts with a frequency lower than that of the fundamental. That means that you get a tone quality that is as constant as that of the ...



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