Reputation
22,979
Next tag badge:
385/400 score
82/80 answers
Badges
2 41 95
Newest
 Mortarboard
Impact
~1.2m people reached

Jun
7
comment Playing notes of a chord not quite simultaneously
Sometimes on piano it's called "quasi-arpeggiation" since "arpeggiation", strictly speaking, means to play each note distinctly in the manner of a harp. The term "arpeggio" comes from the Italian word "arpa", which means "harp".
Jun
3
comment What is a Fake Book?
I did not say that Fake Books are restricted to Broadway tunes. I said that "Most jazz standards were originally songs from Broadway musicals". Of course contemporary Fake Books contain charts for many new tunes that are not historical jazz standards. I'm just trying to point out that there is a history to music that came before the wonderful original melodies of later composers such as Herbie Hancock, John McLaughlin, or whomever.
Jun
1
comment What is a Fake Book?
I should turn my comments into a separate answer later.
May
28
comment Home recording!
The answer to your question would require an entire textbook. There are many textbooks available on the subject of home recording. I do not believe that we can educate you on this subject in a few short posts on this site.
May
27
comment What exactly is *the* blues and how do you learn it (as opposed to: learn *a* blues)?
The principal characteristics of the blues are: 12-measure phrases in AAB structure; 4/4 rhythm with a back-beat (emphasis on beats 2and 4) heavy dependence on the I-IV-V chord progression, and pentatonic melody.
May
25
comment E chord with arc and dot symbol over it - What is this symbol in a guitar chord song book?
"Fermata" is Italian for "stop".
May
24
comment What does the modulation effect actually do?
Not really, no.
May
22
comment Singing the words to one song along with the music for another - what is this called?
Belongs on th Music Fans site?
May
21
comment Is there music available for a c1780 square piano with 5 octaves F to F
Up until about 1820, all pianos had five octaves. Harpsichords from before this period had about 4-1/2 octaves. Thus, virtually every piece of keyboard music written before about 1820 -- Mozart, Haydn, Schubert, Beethoven, Bach, Couperin, Scarlatti, etc. can be played on such an instrument.
May
8
comment Can someone clarify the range of orchestral strings?
Actually what is more common with modern orchestral upright basses is for a 4-string instrument with a low C extension mechanism on the low E string, enabling playing two whole steps lower. But this is not yet considered a standard part of the bass' range.
May
2
comment Best way to practice being in key for new violin players
How about playing along with a recording of a piano accompaniment, etc.? That way you can compare your intonation to the recording and make sure you are in tune.
Apr
25
comment What does it mean to play a note for half a second?
Your car travels at 60 miles per hour. You drive it for 1/2 of one hour. Do you mean to tell me that the car has not traveled any distance at all, because it failed to travel for a full hour? Of course not. Your car has traveled 30 miles. Similarly, your note vibrates at the rate of 440 vibrations per second. You play the note for 1/2 second. Do you mean to tell me that your note made no sound? Of course not. Your note made a sound for 0.5 seconds. I think your problem is that you do not understand maths.
Apr
24
comment Are there any plain nylon bass strings for classical guitar?
Flat-wound? No. But I like the D'Addario EXP round-wound coated strings, which are designed to last longer because the polymer coating keeps the dirt and oils from the fingers from getting to the metal windings. As a side-benefit, they are less "squeaky". goo.gl/jFrboM
Apr
18
comment Why are time signatures needed?
It is often said by a rock music arranger trying to get symphony orchestra players to accompany a rock band: "You can notate the notes in sheet music, but you cannot notate the feel." Playing the feel of a phrase depends on the time signature together with knowing the correct style of a piece of music and which beats to emphasize, push or pull, which notes to play full value and which to shorten slightly, and the precise points at which musicians should breathe, in unison or staggered. These things can never be derived, totally, by just looking at the duration of each of the notes.
Apr
18
comment Why are time signatures needed?
I stand by my answer. I am making the essential distinction between the notation of the notes' values on the one hand and the phrasing or feel of a measure or passage or phrase on the other. This distinction is subtle yet vital to musicianship, but a difficult concept to explain to a beginner. And as for a large ensemble playing in rhythmic unison with a certain feel, it does indeed happen all the time, but it takes experienced musicians and a conductor to do it correctly.
Apr
5
comment Enquiry to Male Passaggio and Vocal production in classical music
Yes, F is usually the "break point" or passagio for a tenor. I'm not sure what it is you wish to ask. Can you clarify your question?
Apr
4
comment Which source for Scarlatti K208? Can I mix and match versions?
And with music from Scarlatti's time, you were expected to improvise a bit when you performed a written piece. Although, today, the questions of how to improvise and how much are the subjects of endless debate.
Apr
4
comment Which source for Scarlatti K208? Can I mix and match versions?
OK, so the point is that this is a certain published edition of a very old composition, and the editor of this edition has chosen to include notes about how different historical editions of this piece of music, over the centuries, contained alternate notes in different passages. You, the performer, have to decide which way you want to play it when there are alternatives presented. Have I got that right?
Apr
1
comment I have Finale and I am having trouble
Have you read the Finale owners' manual? It contains a section on how to set it up for transcribing what you play.
Apr
1
comment Is there a proper way to train the ears?
"Ear Training" is a subject taught in music schools and universities. It is usually taught as a component of music theory in a 2-year curriculum. There are textbooks and lesson plans and software programs for ear training.