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  • 33 votes cast
Feb
10
comment When practicing on my instrument - which is more important - quantity or quality?
@Tetsujin: One thing I've found about wood chopping is that while it can sometimes seem to take forever, the amount of actual time consumed is often surprisingly short. If one's chopping wood on a four-second section from a three-minute piece, two dozen reps will feel like ages, but in reality will only take 1.6 minutes--less time than would have been required to play the piece once.
Feb
10
answered When practicing on my instrument - which is more important - quantity or quality?
Feb
4
comment If between E and F is a halftone, why can F not be an E#
Likewise in a handbell group, the bell above middle C would be played with one performer's right hand when written as a C#, and by the adjacent performer's left hand when written as a Db. The former player would generally also use his right hand for C natural, and the latter player would also use his left hand for D natural and D#.
Feb
3
comment Why do composers use seemingly/unecessarily complex time signatures?
Indeed, I think one problem is that time signatures are generally expected to go at the start of a measure where the time changes. In "The twelve days of Christmas", the time should change from three to four right at the pickup "and a | par-tri-idge in a pear | tree", but notation can't accommodate that; thus "two-oo tur-tle doves, and a" is notated as a 4/4 measure rather than a measure that starts out in 3/4 measure and changes to 4/4.
Jan
31
answered Is the following non-standard fingering for an A shaped barre chord still technically sound?
Jan
31
comment Ending a song with a dominant chord
@mey: I think fading out is a "cheat", personally; I prefer to simply end with a tonic chord where the downbeat of the next verse would be, but fading out does avoid the need to resolve.
Jan
30
answered Ending a song with a dominant chord
Jan
29
comment How is this B flat guitar chord physically possible?
An advantage of the two-finger technique is that it's a lot easier to have a finger cleanly fret strings 3-4, kinda sorta touch 2, and not touch 1, then to have it either cleanly fret 2 without touching 1, or have it cleanly miss 2 altogether. The biggest problem is that switching from major to minor requires both adding another finger to string 3 and lifting the squooshing finger so that it completely misses string 2 (it may, but doesn't have to, continue touching string 3).
Jan
29
comment How is this B flat guitar chord physically possible?
...doesn't mean there's a "law" against it, so much as it means that someone who spends too much time on such techniques may cheat himself out of more useful ones [btw, on the occasions I play a standard-tuned guitar, I tend to use second-fourth-third fingers for a D chord, so a change to D7 or Dm can leave two fingers in place].
Jan
29
comment How is this B flat guitar chord physically possible?
@DarrenRinger: Some methods of playing instruments may make things "easier" under certain conditions, but limited in what they can do. For example, in standard tuning, the easiest way to play an A7-D change is probably to use the index finger four a top-four-strings barre on the second fret and middle finger on first string third fret, then pull the index finger back to a three-fret barre and move the middle finger to second string third fret. On the other hand, being able to do that won't help much if one needs to play any other kind of chord change. Calling such a thing a "cheat"...
Jan
29
comment How is this B flat guitar chord physically possible?
When I feel like using standard tuning, I use an approach like that, but also fret the second string with the tip of my middle finger. When using a finger for a partial barre, it's very hard to not have it touch the first string which it isn't deliberately fretting, but with the ring finger deliberately fretting the third and fourth strings, and the middle finger fretting the second, the ring finger may safely touch the second string without having to fret it cleanly (since the middle finger will fret it cleanly in any case).
Jan
21
comment Alternate tunings on a 12 string guitar
If one used a pickup which had one pole for each pair of strings, each pair of strings could independently be subjected to an effect similar to a distorted power chord, wherein intermodulation distortion produces sum and difference tones. The difference tones for two notes a fifth apart would include a sub-harmonic (octave down from the lower note), and all other frequencies would be harmonics of that.
Jan
21
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Jan
16
comment How should I inspect a used piano prior to purchase?
It may be worth noting that some parts on a piano are essentially unrepairable [attempted repairs would likely fail quickly] but may be inexpensively replaced if broken; some may be sometimes repaired if cracked or broken, but if too badly damaged (or missing altogether) may be expensive to replace. Depending upon the cause, even a single dead key could cost hundreds of dollars to fix, but in many cases would cost much less. What's important is to know what kinds of parts will need repair or replacement.
Jan
15
comment What staff affected by a dynamic mark?
@PatMuchmore: I agree that if the upper staff only shows one voice, dynamics which affect that voice not not the lower staff should generally be placed below the staff (but as close to it as practical). My point was that while markings should be below the upper staff absent a reason to put them elsewhere such reasons could sometimes arise.
Jan
15
comment What staff affected by a dynamic mark?
@PatMuchmore: I would expect a dynamic marking above the upper clef in cases where the upper clef itself contained two parts that were intended to be treated differently even if played with one hand. If, for example, the right ringfinger and pinky might have alternating sixteenth notes played pianissimo while other right-hand fingers joined the left hand in playing a main melody mezzo-forte, putting the dynamic for the "frilly" part above the staff would seem clearer than writing it below but somehow excluding certain notes from its effects.
Dec
30
comment Time signature change.
I think it's more common for a time change that occurs while a piece is "moving" to affect the subdivision of a measure or its duration, than for it to affect both simultaneously. In both the 3/4-vs-6/8 and 4/4-vs-12/8 examples, the total duration of the measure will remain the same if in the former case both measures are six constant eighth notes and in the latter case both measures are four constant beats.
Dec
29
answered What's a buffer pedal and how to use it?
Dec
29
comment Nylon strings for alternative tunings on hollowbody electric
...my chords always combine one or both of the bottom two strings with the top four. I wonder if there are any other instruments which use unwound nylon strings of a heavier gauge and suitable length which could be adapted to a guitar? I doubt fishing line would be sufficiently uniform to really work well, but it would seem possible; not sure how I'd select one, though.
Dec
29
comment Nylon strings for alternative tunings on hollowbody electric
I like the sound of the string I'm using for the "D" better than I like the sound of a wound fourth string; I would estimate that a J3103 would require a tension of about 7.2, which would be far less excessively loose than some other tensions the table gives. If there aren't any unwound strings that are much heavier than what I'm using, I'd rather use what I have than use a wound string, but if I could find an unwound string that would be nice. Normal tuning uses a 3+3 split I think to ensure that even a "D" chord will have a boomy-sounding bass, but...