Tag Info

Hot answers tagged

25

It can be depending on the context . If you were using the F# major scale, you would have the notes F#, G#, A#, B, C#, D#, and E#. Another common example is in a C# major chord you would have the notes C#, E#, and G#. The E# is an enharmonic equivalent to F. F is used a lot more though, since it is a naturally named note. In the same way, Fb can used to ...


25

If you're looking for a magic number upon which scales are based, take a look at 1.5. That's the ratio of an interval called a pure fifth. It's also called a just fifth; the terms are interchangeable. (They are not necessarily the same as a perfect fifth, however. And if you're wondering why they're called fifths at all, don't get hung up on that just yet. ...


24

The fact that you are in A minor without G# (or F# and G#) means that you are in A natural minor. What defines a scale as minor or major, is the third of the scale, not the accidentals. If you have A as the root of your scale and the third is a C, then the scale is a minor one. There are 3 different types of minor scales: A harmonic minor (it has G#) A ...


22

On some types of whistle if you blow really hard you can get the second harmonic, sounding one octave higher than the fundamental. A recorder is essentially a whistle with the length of the resonating chamber controlled by the fingers, and you can very easily overblow an octave. Brass instruments more easily play their overtones because you're in direct ...


21

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 ...


21

A semibreve rest CAN be used in 6/8 time - or ANY time (apart from 4/2 - quite unusual)) to represent one bar's rest. At that point, it isn't actually a 'semibreve', but represents just one bar of that music. It's become a shorthand way of saying "one whole bar rest".


18

The reason there are multiple names for notes is that the same note may function differently in different contexts. If you just play a single note with no context, then it could have a multitude of different names. For example if you played the note in between F and G you could call it F# or Gb or more obscurely E## or Abbb. They are all valid names and are ...


17

A fugue is one of the most polyphonic musical pieces you can write. In a typical fugue there are 3 or 4 voices in play that are each treated independent melodies. While this is going on, you have to not only have to keep all the rules of counterpoint in mind for each voice and make sure the harmony always make sense, but you have a structure to keep in mind ...


16

It's known as a tritone substitution. In jazz you can substitute any dominant-seventh chord with the one a tritone (b5 or #4) away. This works because of the major-third and minor-seventh which are in every dominant-seventh chord. These make the interval of a tritone, which is exactly half an octave, and so gives exactly the same notes when transposed by a ...


16

A semibreve rest is the symbol to be used for "whole-bar rest", regardless of the meter. A whole-bar rest is also distinguished by being written in the middle of the bar rather than being aligned with beat 1 in other staves or voices. This exalted central bar position is otherwise only used by "bourdon" notes carrying multiple syllables in free meter, like ...


14

As Bob mentions, this can be described as a descending chromatic bass line. If descending a fourth, from tonic to dominant, this can also be called a "Lament Bass". As a technique, it dates back at least to the early Baroque Era (famously used in Dido's Lament, that character's dying aria from Henry Purcell's Dido and Aeneas, and also in Bach's Crucifixus ...


14

No, it is still a B♭. The flat is just reminding you that the B is flat. This is typically done if the previous measure uses a B that was different then the one in the key signature or if there was a different quality of B used in the measure it is used to cancel out the other quality. In the key D minor, if you were ascending from A to D, a typical melody ...


14

The pentatonic scale is a great vehicle for moving outside. It has a very clear structure and sound which the listener is familiar with. Due to its simplicity and familiarity, you can get away with playing it, even if it does not fit the harmony in a traditional sense. The first thing I experimented with when I got into playing outside was "side-stepping", ...


14

Technically, there could be, you just keep extending the pattern. You could even keep extending it to the point where you need to start using double flats, though this is almost never done in practice. The key of F contains: B♭ The key of B♭ contains: B♭, E♭ The key of E♭ contains: B♭, E♭, A♭ The key of A♭ ...


13

In popular music, this device is usually called Line Cliché. It is a chromatic line over a static chord creating the illusion of harmonic motion. Line chlichés are most often found in a minor key. The line usually moves near the 7th of the chord. A very common descending line (over a minor triad) is: root -> maj 7th -> min 7th -> maj 6th. This is exactly ...


13

This will just be an embellishment of @user15077’s answer. This is the beginning of your piece as you’ve notated it: Here is what it would look like with a more standard approach: As you can see, many of the notes are expressed as tied notes now. For example, the quarter-note D-sharp in the first measure is written as a sixteenth tied to a dotted ...


13

You can build chords on any scale. You would build chords the same way you build them in the typical major and minor scales. You would take a root note of any scale degree and add the 3rd above the root and the 5th above the root and you get your chord. I'll use the example you've given that is based on the different minors. In A natural minor you have ...


13

No the difference is not subtle, but rather basic: a triplet is a note length modification, so three notated eights use just the time for two standard eights. But all notes are visisble in the score. a trill is a kind of ornamentation. Instead of a long (e.g. full note) one plays something like alternating 16ths from the note above the printed one and the ...


12

Learning production is like learning any musical instrument in a lot of ways. You first need to practice a lot to become very familiar with your software. The software is your instrument, you need to know it inside and out to become proficient at creating songs. For instruments, daily practice is the fastest way to improve, and the same goes with digital ...


12

You are missing the fact that you are looking at two different keys. The chord progression (C G Am F) is in the key of C. The chord progression (G D Em C) is in the key of G, which contains F#. The first site you were looking at, shows you alternatives for a C major chord in different keys than C. (Maybe compare the third alternative when you are ...


12

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 ...


12

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 ...


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 ...


12

To answer this, we can arrange the modes in order from those that have the highest-pitched notes (largest intervals relative to tonic), to those that have the lowest-pitched notes (smallest intervals relative to tonic), then compare the resulting intervals. Note how, in this order, each following mode is identical to the previous one, except for one scale ...


12

In practice, off the page, there is no difference to the listener. On the page, or the written music, each measure in 2/2 will hold the equivalent of 2 half notes and each measure in 2/4 will hold the equivalent of 2 quarter notes, which will simply be drawn differently.


12

The reason that you can get multiple notes from a bugle is that you can vary your embouchure. If you tighten your mouth, and blow harder, you'll get a higher note because your lips move faster. The bugle is essentially an amplifier of the sound that you make with your lips. It can only amplify frequencies that it resonates to, which is why the bugle has a ...


12

You retain the accidental. In this case, it is pretty unambiguous since the lead note is immediately preceding the note (baroque trills would even start with the upper note). If there is more of a distance to the preceding use of a changed pitch, one would lean towards adding a reminder accidental to the trill.


11

tl;dr: You can always guess what notes to play by ear and find what notes sound good, but at the end of the day you are playing in a scale and you should be aware of that. There are some guitarists that don't know scale (or music theory for that matter) and they tend to play by ear. They listen to the progression and try to play something over it and ...


11

Independent in rhythm & contour means that the voices may have different rhythms and contour, respectively. For example, if a voice goes up and another goes down, the voices would be moving in opposing motion. Moreover, one voice may be going up, and then down while the other remains going down only. All this means that the voices are independent in ...


11

This system is the result of the specific historical evolution of Western music notation. The five-line staff was not the first try at writing down the pitches being used in European music. The first systems were just mnemonic, consisting of neumes (squiggles, basically) drawn above the words of a religious text, much like the cantillation symbols that ...



Only top voted, non community-wiki answers of a minimum length are eligible