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0

There are a couple of outstanding answers here already, I'm just going to address the "cannot be learnt" fallacy, because it just might be well-intentioned. I understand what is meant by "cannot be learnt", and disagree, I think it would be better to present the argument as "cannot be taught". Like, nobody taught you to walk, or ride your bike, they just ...


2

I miss the fundamental distinction between scale and mode in the answers here. A scale is an ordered set of notes (usually functionally repeating after an octave). A mode is the harmonic framework built from it. The difference is similar to that of floor tiles and a floor. Even if the floor contains nothing but floor tiles, it is conceptually different ...


1

In fact it is possible to play chords with both hands and a melody at the same time. The trick is to play the melody as the brightest tone, and add one or two chord tones below it in the right hand. The left hand can play the entire chord or just the bas tone (maybe doubled in two octaves). - It is a bit tricky to teach the brain to automatically add chord ...


2

Assuming everyone is oriented to what music is for most practical purposes of the "western" world (which is code for European and Caucasian), scales are groups of notes whose absence of some of the notes which leaves spaces called intervals gives the scale its identity (regardless of octave where each repeats or key). Modes are said to be scales too, but ...


1

It looks like they first came up with lyrics and they stretched out the barline to fit the lyrics in a stylistic way. Messing around with the meter is a term that I heard more than once in the studio lingo hence I think that's what they did. The key point is that the time signature is required to put things down. The band members might have internal ...


2

re 1) I think what the text might mean is .. If the melody is the sung melody, you probably don't want to play it while you're singing it. You'd just be playing over your own singing. Normally this doesn't work too well.


1

This could be a compound tempo. Assuming the last bars are correctly written (see my question in comment) than for the first line you would have: 6/8+1/4 | 9/8 | 6/8+1/4 | 6/8, and for the second line you would have: 6/8+1/4 | 9/8 | 6/8+1/4 | 3/8+1/4 How to find this from the piece itself? Well you either have a very good sense of rhythm and you can ...


1

I'm not sure that it is possible to generalize that much... First of all, in rock songs, you will find a lot of bands playing with 2 guitarists and 1 bassist. So as @Wheat Williams said, the bass line is often played by the bassist in rock songs. But then, there is usually one lead guitar, who will play a melody line and one rhythm guitar, who can be seen ...


4

The sheet music you describe sounds like songbook music arranged for solo piano or piano and voice. Depending on the range of the piece, it may have one clef or a grand staff, often with chords written above and lyrics below. The chord symbols describe the harmony of the piece, which helps practiced musicians understand the structure and progression of the ...


4

If you're playing the chords with the right hand and your left hand is playing the bass line, you have a couple options. The book suggests that you sing to it, but somebody else can play the melody using another piano, sing, or even play it on instruments like the harmonica, violin, or saxophone, which can closely mimic the human voice. Piano sheet music ...


1

You might want to consider the chord-scale technique too. Take a look at scales that can be used over each chord. Since you are playing major chords without extensions, you can imply an extension from the scale. You may use a G note over the A Major chord or C note of D Major chord for a Dominant/Mixolydian sound. Using Pentatonics over each chord (E major ...


1

Folk Music in my opinion is a style based on lyrics too. It is communication to the listener that is straight forward on subject matter they can relate to specifically. A political position in a song to inform the listener and persuade them to agree with the writer is a type of folk song. A song that is handed down through generations describing life ...


0

I tend to find that anything that has a chord progression in the key of G with 4/4 time, and hammer=ons in the base notes will sound very good and folky. Also as a little tip when you are moving to a g chord on the a string try sliding from the 1st fret to the 2nd fret where it is supposed to be for a G chord. Happy hunting for your sound.


3

"All music is folk music. I ain't never heard a horse sing a song." -- Louis Armstrong American folk music has the following characteristics: Acoustic instruments Simple chord progressions such as C-F-G or Am-G Simple time signatures such as 3/4 or 4/4 "Sharp" or natural keys such as C, D, E, G or A Simple scales such as pentatonic minor (blues), ...


5

Although much of the harmony here is triadic, few of the chords function in a conventional way. It is possible to give each chord a "name"; for instance, the first 13 bars could be notated as these chords (with a little enharmonic licence): Em / / / | B7sus4 / B7 / | B7b5 / Bm7b5 Dm7b5 | E7 / Em7 Edim7 | Am7 / F#m7b5 ?? | F#m7b5 / D#dim7 ?? | D7 / / / | ...


6

The term for chord connections like this, where each note of the chords changes (usually chromatically, almost always step-wise) one-by-one, is linear harmony. It's quite common in Liszt, Scubert, Schumann, etc. Roman numeral analysis is mostly pointless during linear harmony passages, most analysts will either just label it as linear harmony until the next ...


0

From an English perspective, 'folk music' has just as much variation as previously stated, but the main sub-genres seen are traditional folk and the American folk described above. I'll leave the American stuff to these guys who have summed it up quite nicely, but the traditional music can be categorised by a few factors. It is generally harmonically and ...


1

Try using "Tonal counterpoint in the style of 18th Century - Ernst Krenek (1953)" along with your surgical explorations of the Italian masters and write variations on their themes


11

"Folk music" is not a genre. "Folk music" is many hundreds of different genres. There are three broad categories of music, "classical", "folk", and "commercial". Folk music is simply whatever music that is made by people as a part of their culture, casually, and with no real expectation of earning money from it. Folk music depends upon the culture from ...


8

"All music is folk music. I ain't never heard a horse sing a song." -- Louis Armstrong First off, let's narrow things down a bit here. It sounds like you're talking about American folk music rather than folk music as a whole. Other folk musics would take a book to explain. American folk music has the following characteristics: Acoustic ...


8

Harmony refers to the "vertical" relationship between simultaneous pitches in a musical texture (usually, but not always, chords - see below for the exception). However, it also refers to the "horizontal" relationships between successive vertical relationships of pitches; it's probably easiest to think of these as chord progressions. The exception, mentioned ...


6

Harmony supports the melody. Polyphony is when there is more than one independent melody. The basic idea is that in polyphony is that each melody can stand on its own independent of the other melody. Common examples of this are rounds, fuges, and counterpoint. In the case of harmony, everything supports the melody. Their may be secondary melodies or the ...


0

I bVII IV is a very common progression in rock and pop and can be found in the following songs: Rolling Stones - sympathy for the devil Lady Gaga - born this way Lynyrd skynyrd - Sweet home Alabama (though, some hear this as a V IV I) Elton John - Saturday nights alright for fighting U2 - desire Van Morrison/Them - Gloria And literally thousands of other ...


1

Another way to look at it, apart from Bob's as usual, good answer, is to consider that E,D and A are all the major chords found in A major. If you were to solo over a piece in A maj., you'd use A maj. notes. O.k., you'd centre more on A, but probably on, say, E, you'd centre more on E. So the A maj. scale notes will still work, very similarly to how you ...


4

There is an interesting irony here, because the song Lee linked to ("Taro") doesn't do any of the things that one would immediately think of as concluding: it doesn't actually bring the rhythm to a stop, nor does it end on the tonic chord. Instead it fades out on a repeating, open-ended cycle of simple diatonic chords (ii - I - vi - V). I would guess that ...


5

A good starting point is to write out all the notes in the chords you're playing (although if there are more than a few this might be harder). Usually (but not always), these chords are likely to be linked in some way harmonically, and so you may notice that all the notes are within one or more familiar modes or scales. For instance, the notes in the chords ...


2

I would recommend a I64 V I cadence, with the bass going "so so do." For example in C major: with a ritardando. I see jjmusicnotes recommended cadences, and this one is the most common.


4

Without getting into an entire lecture, here are some things you can do to make someone feel as though a piece of music is being concluded: Go to an extreme (pitch, dynamics, tempo, instrumentation) either to the most/high/loud or the soft/slow/low end for example. Typically rhythmic, harmonic, and melodic motion slow down. If there are motives or ...


1

The ear training is important. Additionally, one thing nobody mentions which is very important, is to learn how harmonize and reharmonize those passages - how to fit chords and substitute chords to the melody - and then to improvise using those chord tones. There is also such a thing in music known as avoid tones, which is a fancy way of saying "tones that ...


2

Some more tips from Jazzology: Here are some notes that can be added to a chord to give a more 'jazzy' sound. Major triad: add 6th and 9th add M7 and 13 add #11 to either of the above for extra dissonance Minor 7th (works as ii): add 9 add 11 and/or 13 above the 9th for extra dissonance Minor triad (works as i): add 6 and 9 add M7 add 9 and/or 13 ...


0

I like the other answers here, but I want to stress that species counterpoint developed out of analysis of existing music. Palestrina had never heard of species counterpoint. He just wrote music. Fux and others like him then looked at Palestrina's music and said, hmm, well, he does this and this in these circumstances, so we'll call that the first ...


0

Changing the doubling of IV6 will not help, as the issue concerns the progression of the root, which must appear in at least one inner voice. The doubling is definitely the lowest-priority rule, so 4 should proceed to 2, possibly jumping up to 5 if necessary to connect to the next harmony. (Taking advantage of the fact that the original asker did not specify ...


1

You may want to explore my collection of chords and supporting information. What makes this uncommon (unique?) is the fact that this collection of guitar chords illustrates and functionally identifies the component chord voices, rather than just indicating a marker to "put your finger here". This collection is almost completely comprised of movable chords -- ...


0

You might consider looking at Jack Perricone's Melody in Songwriting. It's designed for, obviously, songwriters, but the basic principles of melody it sets forth are applicable to any kind of music.


1

Well, the reductive answer is that there's nothing special about it and that the only thing that makes a leading tone "want" to resolve to the tonic is hundreds of years of musical convention, since this tendency exists in a Western scale but not necessarily in other scales. The tuning of the Western scale has changed a lot over the course of those hundreds ...


3

This is certainly not universally accepted, but I say a half-step isn't really a fixed entity; rather there are a couple of different "half"-steps of different size that can serve different purposes. That particular leading vii-I step, according to some performers – Pablo Casals was perhaps the most radical propagator of this idea – should be ...


5

As the other answers have said, a secondary dominant is a 7th chord that resolves to a chord other than the tonic. The classic example is a D7 chord in the key of C: the D7 resolves to G, which itself resolves to C. Dominants create tension To understand the theory and practice behind secondary dominants, you have to understand that all dominant chords ...


3

Theory Secondary Dominants are chords that are the Dominant (V) chord of a certain key other than the Tonic (I) key. For example, let the current key be C Major. An F Major chord is the Subdominant (IV) of the current key (C Major). How about a C Dominant 7th chord? That is not in the current key, but you know it's the Dominant 7th (V7) of F Major, and F ...


11

In common-practice theory, secondary dominant chords are chromatic harmonies used to approach a non-tonic chord with greater urgency. Let's use C major for examples: I might want to approach the V chord (G) with a secondary dominant to give greater direction or "color" to the approach. I construct the secondary dominant by going to the V chord of the V ...


2

A secondary dominant chord is when you turn a minor or major 7th chord into a dominant chord, in order to make another chord the tonic chord. I can't tell you exactly what's the theory behind this, but I can tell you a bit about how they're used, not so much for composition but for arrangements: Take for example a typical chord progression I-VI-II-V. If we ...


0

Some writers, e.g. the User Manual for Finale, are perfectly happy talking about "key signature accidentals."


0

I would like to suggest that there are three sources of this so-called "key symbolism": The actual differences in pitch, e.g. take the rich D-flat major triad that ends a Romantic piano piece such as Chopin's "Fantaisie-Impromptu" and transpose it up or down a major third, noting how "muddy" it is in A and how "shallow" it is in F. Conventions and ...


4

For stringed instruments such as the violin, playing in sharp keys (more accurately, 0 to 4 sharps) means making multiple main notes of the tonality coincide with open strings. This amplifies the instrument's show-off potential in two ways: In fast passages, fingering is simplified because any time the melody touches on one of the four open strings, ...


2

I want to make an addition to all these excellent answers. With just intonation, it's not possible to make all the chords just. Not even in a single key. Let's look at the common just major scale based on I, IV and V just major triads: C 1:1 D 9:8 E 5:4 F 4:3 G 3:2 A 5:3 B 15:8 In this scale, I, IV, V major triads (4:5:6) and iii and vi minor triads ...


10

A few ideas: The most difficult but most flexible approach would be to continue playing with the synth programming until the synth sounds in tune on more notes, or program more synths to have similar sounds on different notes. Use pedal point. A bassline using pedal point constantly plays the same note, regardless of the changes in harmony. Done well, ...


1

Using a section of the circle of fourths: G C F Bb Eb You can see the 7th to 3rd progression, which is very common in chord progressions and improvisation. The classic 2-5-1 in theory follows the circle of fourths. Resolving the 7th to the 3rd of adjacent chords gives a very nice movement to songs and solos. Gmi C7 Fmajor (2-5-1) 2-5-1, 3-6-2-5, ...


0

Not sure whether you mean if a tune is in, say, F#, but the guitar is tuned differently, what key should that part be written in. If so,the guitar is in G. Or, do you mean is Gb a better key than F#.Pretty well as bad/good as each other.But if a piece HAS to be in one of those, it begs the question why? Most songs will not have such a great range of notes ...


7

When it comes to choosing a key signature, there is no standard. Except that most players are loathe to read music in keys with more than 7 sharps or flats. Aside from a few diehards who insist that F# is a different key than Gb (and it was, before the equal temperament system was developed), one rule of thumb is to use the key most commonly used for the ...


1

A scale is a set of notes. For instance, the D Dorian scale contains the notes D, E, F, G, A, B, C, and D. A mode is a scale or scales with musical functions attached to the notes. For example, the Dorian mode of Gregorian chant (sample here) has D is the tonic A is the reciting note (listen 1:34) B is often replaced by B-flat, especially in progressions ...


1

Look up "Coltrane changes" in wikipedia.org. Essentially, they consist of a minor third interval followed by a perfect fourth interval (e.g. B-D-G-Bflat, etc.). Coltrane's compositions "Giant Steps" and "Countdown" are good examples, as well as his changes on the bridge of his recording of the standard "Body and Soul". The wikipedia article explains this ...



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