New answers tagged

1

Technically speaking, you can't ever say for certain until you see the original score (if there even is one) as determined by the composer; a piece could literally be written in an infinite number of time signatures. As such, we have to make these decisions based on a knowledge of prior practice and on what makes the most practical sense. So, let's look at ...


1

I'd put it in 6/8, due to the triplets feel, but the phrasing kind of repeats every two bars, thus two lots of 3/8, making 6/8. Why /8? Well, it's fairly quick, so I'd write it as quavers instead of crotchets. There is a recent question on that subject - quavers to play give the feeling that they are quicker - I know it depends on the tempo mark, but ...


0

First, listen to some of Beethoven's, Mozart's and Liszt's symphonies. Analyze it. And make sure it has a big grand opening too.


1

First of there isn't an "official" augmented scale. What people typically call the augmented scale is actually a scale known as the Lydian Augmented scale which is a mode of the ascending melodic minor scale that starts on the third scale degree and in C looks like this: C D E F♯ G♯ A B C There are two different types of diminished scales that are ...


3

Depending on how the audio file was recorded it may have time deviations from the 100 bpm steady beat you'd need. If it was recorded without a click track, electronic drum, or some other fixed tempo reference, there will surely be jitters that may make it very difficult (or at least demand a lot of work) to perfectly align with a new steady time reference. ...


1

Harmony in general is a pretty broad topic and there isn't just one option for how to do harmony. In general, harmony is the simultaneous or "vertical" relation between what is being played. There is the typical Western idea of functional harmony where the Tonic-Dominant relationship (I-V) drives the progressions we encounter, but there is a lot more out ...


-1

Pragmatically: the Beat is mostly for writing purposes. "Pulse" is often used synonymously with beat and if I start clapping a "pulse," or "beat," you wouldn't know if it's a quarter-note or an eighth-note etc. It is a pulse, an undefined beat. It has a tempo but not necessarily the same as the song tempo. We get the song tempo once we decide what the ...


0

It sounds to me like a chromatic mediant relationship, with a melody note on the top of the chord that "escapes" at 0:17 to create an effect of surprise. the chromatic mediant relationship is used a lot in film scores, I suppose because it is still a somewhat surprising shift in tonality.


0

This freq scope is free. One of my most important tools. +cubase and csound http://mdsp.smartelectronix.com/freakoscope/ I have been trying to recreate this synth for 16 years, and I still don't have it right. And Misjah won't tell me anything. DJ Misjah - In Confusion (Acid Techno 1997) Sorry to change the subject, but ...


0

Consider the so-called five shapes for any given scale. Some of the notes from one position will inevitably be the exact same notes/strings/frets as those from the next position, up or down. So you cannot avoid playing those same notes. All that changes is (maybe) the fingers with which you play those particular notes. There are no rules, to be adhered to or ...


2

It's not always easy to tell, but here we are definitely talking about a tie. How to distinguish? A tie is sole functional and can only connect equal pitches (there is the tricky exception of a tie connecting enharmonically equivalent notes in a modulation but the execution would be to hold the note without noticeable intonation correction). Does that ...


5

I am unsure of anything that systematically analyzes orchestration. I've worked with the Adler, the Berlioz, and the Rimsky-Korsakov. This is quite a broad question because indeed orchestration is extremely subjective. You can find more systematic approaches in spectralism, for example. It is interesting because often orchestration is judged objectively. I.e....


2

Yes, it's a tie. You have to play the C once and hold it for 6 quarters. To tell the difference, keep in mind that slurs are used between different notes and ties are used between the same notes. For instance:


1

There are a few things to consider, I will go through them one by one. This might be quite a long answer, but I hope it helps! First, take a basic element of music, a melody. Here is the beginning two phrases of Au Clair de la Lune On its own, it sounds okay but we can add an accompaniment to make it sound better. The simplest accompaniment possible ...


-1

If you want to rock right now, then the E minor pentatonic is a great place to start. It's really easy to play, sounds awesome and it's used in a bunch of tunes like Rumble, Shakin' All Over, Back in Black and many, many more. Here's the pattern: That being said, it's not a great place to start if you want to understand what you are doing. Although it ...


0

E C#m G# A: Answer, key of E. Sharps in E are F#, C#, G#, D#. A is a natural note in the key. To determine sharps in a key: The note before the Key which would be D# in key of E is the last sharp. The rest follow the circle of fifths clockwise (each a 5th apart): F# C# G# D# and you're at E. C#m, G#, A, E: This is the same, key of E, using the same ...


0

Learn the seven modes. Basically, most modern music is played within one of those seven modes (essentially seven different scales). The chords for the song are found and created by taking triads found within the mode to dictate whether or not a certain interval's chord is going to be major or minor. Basslines will typically hang around the root notes of ...


2

I can barely understand what you're talking about, honestly. Whatever it is, I think you need to forget the word "bind". In both exercises, there are two separate lines. In the first, there's a top line that goes: (rest) | E E E | (rest) | (rest) E and a bottom line that goes: A A A | (rest) | A E E | A The second example ...


0

"Imitates" is probably best, but another option would be "follows". The initial melody is called the leader (or dux), while the imitative melody, which is played in a different voice, is called the follower (or comes). From https://en.wikipedia.org/wiki/Canon_(music)


0

Those are not octaves they are merely three octaves in various positions. The classical guitar generally speaking has a range of three octaves even if there is 72 notes you can play from Low E to 12 fret on high E. So it looks on average each note has two places on the fret board you can play it, even if there is some with three and some with only one.


0

You mentioned that you are just in the beginning stages of grasping music theory and that's perfectly alright. We have all been there. I think you might be confusing major intervals with major and minor chords that go with a given key. It is true that the note A natural is the 6th scale degree of the C major scale (key of C). It is also true that A ...


5

You could say it's imitation: In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. Wikipedia uses this example from Bartok's Mikrokosmos, which is similar to yours: Also, this example from Bach's Fugue no. 16: The 1st violin imitates the 2nd violin at the start of ...


4

That image only shows three octaves, even though it shows eight different positions on the guitar where one can play an E. The trick of the diagram is that the E notes that are the same color and are connected in the same line are the same note. They are not in different octaves, but exactly the same. So even though there are eight fret positions where you ...


1

There is not always a bass line. There is not always a melody. When there is a bass line, it could be played on any strings of a guitar. When there is a melody, it could also be played on any strings of a guitar. Sometimes only one string is used at a time and only one note is being played. In that case the one could could be both the bass and melody at the ...


0

Assuming there's only the one guitar,the lowest note of the chord is going to be the 'bass' note.Generally it's going to be the 6th or 5th strings, for most keys, but when in D, the lowest note played on guitar is the 4th string open.So, as a basic premise, the bottom 3 strings. Melody is something quite different, and although often played on the top three,...


3

This question is missing a lot of context. It may be that there is no difference, or it may be that the bass line is played on a bass guitar, or there may be the root note of the chord (which may or may not be 'bass') played on any string (although realistically strings 1 to 4 in order to have two other notes of the chord on strings 5 and 6) There is no ...


4

It seems like the answer you are looking for is Tonal Harmony by Stefan Kostka and Dorothy Payne. A simple web search of college level harmony texts turned up more hits on this title than any other. One such page, from a community college, is here: https://www.flccbooknook.com/tonal-harmony-text-only The text on that page includes this description (emphasis ...


1

When you are on a certain chord for a bar, then, yes, it'll work. I presume a bar of C, using C scale notes, then a bar of E (dominant of A), where you could use E scale notes, leading to a bar of A, where A scale notes will work. What you need to bear in mind is that all these keys have some common notes, but they may not be chord notes. For example,all 3 ...


1

Well, it's going to be quite dissonant, because there are going to be a lot of notes clashing. The A major scale has C# and G# whereas the chord C has C and G natural.* So, those notes are going to create a dissonance. It will sound smoothly over the E and A chords, because E is the V of A, so the notes are the same. Keep in mind that the chord progression ...


4

B# and C are basically the same note. They are called enharmonic tones. In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The one note differs from the other depending on the harmony of the song. ...


0

Luckiest Man- Dm/F - which when written on the stave have the same key sig. one flat. However, he's playing with capo on fret 1. Say it Ain't So - Eb, moving to relative minor of Cm. Where is my Mind - E, and its relative minor, C#m. All use the V of the relative minor, which is usually a major or 7th chord not found in the relative major's armoury. A ...


3

The way I was taught to determine a song's key is fairly straightforward: You list the pitch class (all the known pitches in a melody) and use that to determine the key. In this case, we have a collection of chords instead of a melody, so let's use that. I'm doing this more or less in my head, so please consider this a rough draft and let me know if there ...


3

There is rarely one unique scale (key) that a given set of chords will fit into; usually, at least two scales will fit pretty well. Another way to see this: the difference between two scales can be a single note that is different; but if the distinguishing pitch is never played during the song, then which scale is correct? The answer is, whichever the ...


1

Adding to Dom's answer, C#4 SHOULD include C#, E#, G# and F#. Whereas C#sus 4 will only contain C#, F# and G#. That's because the suspension of the 3rd, replaced by the 4th, is why it's a sus. chord. If the composer wants the triad AND the 4th note, it's C#4. As in other answers, by the time we get to numbers larger than 7, we generally inlclude that 7, and ...


2

In Jazz, they usually think the chords in thirds. This means that they will take the root and ascend thirds to find the other notes: C# (1), E# (maj 3), G# (5), B (b7), D# (9 or D b9), F# (11 -or Fx #11), A# (13). So, if you have a C#7 chord and want to play F#, you would mark it as C# 11 and not C# 4. Like Dom said, this chord will also have D# in it. If ...


4

It's actually a very big difference. C♯11 is easily seen as an a extended chord that contains the notes C♯, E♯, G♯, B, (D♯), and F♯ though typically the 3rd (E♯) is omitted due to the clash with the 11th (F♯). C#4 is ambiguous, but most people looking at it would imply it is a C♯sus4 chord spelled C&...


2

Very small babies are more sensitive to higher pitched sounds; this is related to how people tend to use high pitched voices/sounds when talkint to them. This is probably related to the tessitura of the lullabies.


2

I'll just present to you my observations with this kind of music without any findings from a formal study. I just want to throw out some ideas to help lead your research. We're supposed to be in a peaceful state when we're about to fall asleep. Music too fast may be too stimulating, which will more likely wake us up. It only makes sense for lullabies to be ...


8

Studying lullabies? That sounds kind of interesting, actually! The lullaby is typically a soothing song, and it's typically used to help someone fall asleep. Indeed, the German word (Schlaflied) is literally "sleep-song." As such, I think it only makes sense that it would be a slow tempo instead of a fast one, don't you? As for the high tessitura, I can't ...


2

Is it true? No, it's not true because you used the word 'anything'. As said, it can be called a bass line in general if played by the bass even if this 'line' includes chords. It's referring to the instrument if used this way. A melody on the other hand is a series of notes. Another concept of a bass line is a series of notes in the bass. There is a ...


2

Not really, because notation systems have always evolved to accommodate the music composers are writing. Baroque composers, particularly French ones, came up with all kinds of weird notation, some of it unique to the composer. An example: La Sylva by Forqueray (pg. 37 of this document), written in the 18th century. The information about what the odd ...


11

It could be argued that any digital recording of the melody in question is a notation of that particular performance: It's something that can be followed to reproduce the original performance. It can be written down (any digital recording is made of bits that can be encoded as ink on paper, if need be). Anyone with the right training and equipment can use ...


5

Certainly current musical notation is incapable of handling note durations that aren't rational multiples of each other. For instance if you had a melody where one of the long tones was pi times the duration of one of the short tones then there is no way to explicitly notate this (it is possible to get as close an approximation as is desired though).


5

The melodies of Turkish classical, Arabic, and Hindustani have all come to terms with various means of notating their microtonal and non-Western tones and intervals, the Turkish Makams being, probably, one of the best of such systems. Still, all notation is just a guideline. Instruments that play glissandos by sliding on strings or by any other means ...


10

Sure. Here are some examples of scores by John Cage, Steve Reich, Brian Eno, Krzysztof Penderecki, and Cornelius Cardew - all recognized "mainstream" 20th century composers. http://www.smithsonianmag.com/arts-culture/5-12-examples-of-experimental-music-notation-92223646/?no-ist


5

I don't have any examples, but there are melodies (possibly stretching the definition of "music" a bit) composed mostly or solely of "effects", like "a crashing glass", "a gunshot", "a ringing telephone", "a low moan", "the sound of a cat" etc. You could adapt standard notation for it, but a great part of your music would be in the "legend" (which effect ...


13

If you mean can one compose a melody using notes that are not defined in any recognized form of musical notation - then the answer is certainly! And if you compose a musical work that uses tones that are not defined in say 12 Tone Equal Temperament or other common tuning or notation system, there is no universally accepted way to transcribe those tones ...


2

Whether the top line of notes are given or the bass, the concepts of harmonisation stays the same. The melody line tends to be given more when advance harmony questions are asked, as it test the candidate's knowledge on how to approach inversions. Whether you write the bass line or the top line your outside voices have to be written in the style of a melody....


2

Not strictly figured bass or partimenti, but you could take a look at the rules for harmonising Bach chorales, where you are given a chorale melody and fill out the parts for SATB choir, starting with the Bass line. Identify the degree of the scale of each note in the melody Identify cadences (there are cadence 'templates' based on melodic patterns are ...


2

Sounds like you need to check any guitar chord charts, and only consider the bottom 4 strings shown. For some it won't be too satisfactory, as often with open chords, the 6th and sometimes 5th strings are not played (usually because that's where the root should be). The voicings may or may not be to your satisfaction, but the chords are playable straight ...



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