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| visits | member for | 5 months |
| seen | 3 hours ago | |
| stats | profile views | 11 |
I am a composer!
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9h |
answered | What are the advantages of different mouthpiece sizes? |
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2d |
reviewed | Approve suggested edit on What is the technique Adrian Belew utilizes through-out : “Elephant Talk” by King Crimson? |
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2d |
reviewed | Approve suggested edit on What is the technique Adrian Belew utilizes through-out : “Elephant Talk” by King Crimson? |
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2d |
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“I-vi” in Major or “III-i” in Minor? @Tim - by definition it is understood that a deceptive cadence may go to any chord other than the tonic. merriam-webster.com/dictionary/deceptive%20cadence |
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2d |
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“I-vi” in Major or “III-i” in Minor? @Kaz - the points mean nothing to me; it is the principle that is important. To Anthony - my answer isn't "classical", it is the way music theory functions and is currently taught in accredited institutions. I am not sure where Kaz's view of modes is derived - modes even from the Baroque and earlier have been viewed and used "in their own right" - this is not a new concept. |
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2d |
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“I-vi” in Major or “III-i” in Minor? @Anthony - I don't support this answer as the correct answer to your question when it contains factual answers. You should accept an answer because it is correct and not because it tells you what you want to hear. |
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2d |
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“I-vi” in Major or “III-i” in Minor? @Kaz - that is incorrect, the progression is clearly in C major. A plagal cadence is from IV-I, not what you described. The G-Am "pull" is strong because it is a deceptive cadence as the expectation is resolution to C major. To Anthony - to answer your question, I hear it as a major progression. When you isolate two chords it is easy to hear them as separate because there is no context for them. |
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Jun 16 |
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“I-vi” in Major or “III-i” in Minor? That progression functions as a vi-IV-I-V in C major where the "Am" is not the one chord but the deceptive resolution from the "G" chord. Just because the progression might begin with a minor chord doesn't mean that the first chord is also the "I" chord - those are two separate enterprises. |
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Jun 16 |
revised |
“I-vi” in Major or “III-i” in Minor? clarity of title, formatting, spelling |
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Jun 16 |
answered | “I-vi” in Major or “III-i” in Minor? |
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Jun 15 |
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Is there any substantial evidence that a constantly fluctuating pitch is considered less musical than more discrete tones? Is there any way to provide more context for this question? More specifics? |
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Jun 15 |
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Really confused about x's on a note? @NReilingh - also true - there are dozens of uses for "x" shaped noteheads depending on which instrument they are used for. My comment was not to describe their use, but rather to refute the idea that "x" shaped noteheads are not used in piano notation. As an aside to Tim - pianos actually can be muted in a couple of different ways, but the notation is different. |
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Jun 14 |
reviewed | Approve suggested edit on tab reading on middle strings |
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Jun 14 |
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Really confused about x's on a note? "X's" for noteheads in piano notation may be used for striking the body of the instrument, clapping, foot-stamping, or other percussive indications. |
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Jun 14 |
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Cello: Is it possible to play a double stop of a major 9th on the I and II strings? @CarlWitthoft - By tuning to non-standard intervals, the OP is completely changing all note placement / scalar patterns on the instrument. This will make learning / playing the piece much less reflexive, and passages / figures that might have worked with normal tuning may no longer be feasible due to new note placement. The resulting scalar patterns would almost be like trying to play an A Cl. in the bottom third of it's range, an F Horn in the middle range, and an English Horn in the upper range - all while reading concert pitch. Yes, it's manageable, but possibly unnecessarily difficult. |
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Jun 14 |
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Cello: Is it possible to play a double stop of a major 9th on the I and II strings? @CarlWitthoft - Yes, I am aware of the math...my issue regarding tempo wasn't so much for the 2nd half of the excerpt in question, but the first two measures, which is going to be very difficult to get the connected sound the OP is looking for at that tempo. My point there was for the OP to think about using slurs. Scordatura and transposition are similar but handled differently. The scordatura would be more manageable if it only affected 1 or 2 strings (like much music) or if the OP had retained the original intervals between the strings. |
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Jun 14 |
answered | Cello: Is it possible to play a double stop of a major 9th on the I and II strings? |
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Jun 13 |
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Chord naming conventions: add2 versus add9 @user1352530 - If you like my explanation, feel free to up-vote :) Anyway, the view I described is the conventional view. "add2" and "add9" do in fact express different things as I pointed out in my answer. Notation's job is to reflect the music as accurately as possible. Generally, guitarists traditionally do not have a strong foundation for notation theory (referring not to classical / jazz guitarists here.) Since you are working from a TAB it is better to go with tradition as TAB inconsistencies sparked your confusion to begin with. |
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Jun 13 |
answered | Chord naming conventions: add2 versus add9 |
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Jun 13 |
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Why transpose at the octave? @msh210 - That's much clearer - I'm glad we were able to clear up the miscommunication. |
