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1d
comment Two consecutive mdi note-on of the same pitch misbehaving
I would expect any reasonable translation of guitar to MIDI should use one channel per string. If one does that, hammer ons, pull-offs, etc. could be accomplished either with various combinations of portamento and pitch-bend controls, or by designating certain velocity values as having "special" meanings (so that e.g. a "note on" velocity of 2 would represent a fretted finger which was not accompanied by a pluck).
1d
comment Two consecutive mdi note-on of the same pitch misbehaving
I don't think overlapping notes are a particularly gray area. The combination (channel number + note number) is the only means of designating particular notes to be cancelled; thus, if it will be necessary to cancel one note at a given pitch while sustaining another, the two notes must be on separate channels.
Apr
9
comment Correct notation for a minor chord?
You can see a partial preview copy at onlinesheetmusic.com/amazed-p304281.aspx (I'd figured the chords by ear (second thing I ever did on the guitar, interestingly enough); for my second Cb chord the sheet music shows Abm7 (don't think I'd used one of those before; with my tuning, a Cb chord is voiced as Cb Gb Gb Cb Eb Gb on frets 4-4-4-6-7-7; when I get home I'll have to try 4-4-6-6-7-7, 4-6-6-6-7-7, and x-6-6-6-7-7 and see how they sound).
Apr
8
comment Correct notation for a minor chord?
@Tim: The chord sequence is "2x (Ab Eb Fm Db) Cb Gb Cb Fb 2x(Db Ab Bbm Gb) Fb Gb Ab". The "Cb Gb Cb Fb" doesn't feel like it's centered on Ab major; from an analytical perspective there's no reason to reckon it jumps to a lots-of-sharps key, but from a performance perspective reckoning those middle chords as "B F# B E" seems perfectly natural.
Apr
8
comment Correct notation for a minor chord?
I would expect a typical guitarist of moderate proficiency who's sight reading with a group isn't going to expect see a chord, figure out where it fits in the key, etc. and play it in time with the group. Instead, I would expect the guitarist to see the next chord is "E" and get ready to play 0-2-2-1-0-0 on the proper beat. Some styles of music will require harmonies too complex for sight-readable chords, but in cases where sight-readable chords would sound decent (if not optimal), big bold enharmomically-simplified chords would be helpful.
Apr
8
comment Correct notation for a minor chord?
@Gizmo: If you could do so without overly cluttering the page, perhaps having a big bold enharmonic chord and then a small-print notation or footnote reference with the "technically correct" chord might be helpful, especially if music would sometimes be performed in a sight-reading or near-sight-reading situations, and might sometimes be performed by a group that wanted to analyze the music and fill out chords in more calculated fashion.
Apr
8
comment Correct notation for a minor chord?
@Tim: Neither Abm nor G#m is a very common chord on guitar, but the "black key" notes can go either way. I think Cb and Fb, however, are pretty obscure--especially since the latter wouldn't even be a normal key signature.
Apr
3
comment Do the F clef and G clef always reside on the same line?
I've also seen tenor parts printed with a C-clef bracketing the second space (equivalent to a treble clef one octave down).
Feb
28
comment Why digital piano has more polyphony voices than there are keys on the keyboard?
@keshlam: Before the generator is recycled for a different pitch, certainly, but if a note is restruck that should essentially nullify its earlier vibrations, should it not?
Dec
26
comment “First ending” has a notation “2nd time R.H. 8va”
Although the book you're using may be simplified from what Joplin wrote, listening to a MIDI or recording of the music should make clear which parts should play in what octave.
Dec
4
comment How to add verse-specific dynamic to sheet music
@Édouard: Most musicians do not know Italian; rather, they know some musical terms which happen to come from that language. Your last example is not among the terms most musicians would know.
Nov
21
comment What's the most useful alternate tuning and why?
@luserdroog: If you want to see my tuning in action, look at youtube.com/watch?v=aRwT3E9iRfA (simple example: Hotel California using seven chords).
Nov
13
comment Notating 6 (or more) triplets with a single beam?
Whether something would be perceived as a sextuplet, a 3x2 group, and a 2x3 group, would likely depend upon context. If it appeared in the middle of a bunch of triplet eighths, it would be perceived as three pairs of notes. If in a bunch of duple eighths, as two groups of three. If in a bunch of quarter notes, as a sextuplet.
Nov
13
comment Notating 6 (or more) triplets with a single beam?
Whether a "6" is correct would in my mind be a function of whether the triplet sixteenths should be perceived as subdivisions of a quarter note, a duple eighth, or a triplet eighth. Only in the former situation would I favor a "6". In the second, I'd favor two separately-marked triplets, possibly joined via single beam. In the third, I'd favor a single beam grouping all six notes, with double beams connecting pairs, and a single "3" over the whole thing.
Nov
4
comment When I play the C chord, why does the electronic tuner indicate that it is a G chord?
@TedWong: If one had 12 separate stroboscopic tuners, each of which was set for a different pitch, the wheels corresponding to the notes of a chord may have a slightly visible stationary pattern caused by its own notes overlayed on the moving patterns caused by all the other notes. How visible the stationary parts would be would depend upon how the tuner was designed, but conceptually a stroboscopic tuner which is set for a particular pitch should be better able to resolve it in the presence of other pitches than would a frequency-counting tuner.
Nov
4
comment Why does the dominant chord contain a flattened 7th?
@Tim: In any case, my point was to mention that a major minor seventh is often called a "dominant seventh" because the dominant chord is the only major chord whose seventh will naturally be a whole step below the octave.
Nov
4
comment Why does the dominant chord contain a flattened 7th?
From the standpoint of someone playing chords, you are correct that the chord names are interpreted without regard for the key signature. My intention was to make clear that secondary dominant sevenths have accidentals because their pitches are what they would be in the key of the chord they lead into. I'll tweak the way I wrote things to make it clearer.
Nov
3
comment Why is the G/F chord not shown?
@AlexBasson: Indeed, some slash chords simply require either omitting a note that would normally be played (e.g. for G/B, simply omit the G) or strumming an extra string (e.g. for an A/E or C/E, the sixth string would naturally play the right note).
Oct
18
comment Do I write # or b?
Another thing to note is on chromatic instruments which have parts associated with particular pitches (e.g. organ pipes and reeds, piano strings, actuating levers, etc.) it is common to always use the "sharp" forms of pitches to identify them. For example, if the bottom note on a pipe organ rank is C, the fourth pipe from the bottom would be described as D# (rather than Eb).
Sep
12
comment Does a note/key/string struck on one piano cause the same note on another piano to resonate?
I have a guitar with very light strings, and if one plays the fifth string ("A") it will cause the first string (upper "E") string to sound; that string will continue to sound even if the "A" is damped.