Instruments don't just produce one frequency at a time. When you play a single note on a melodic instruments (like piano, wind instruments, string instruments, etc.), you produce many different frequencies at a single time--a whole spectrum is produced. But this spectrum isn't random. It pretty closely follows the harmonic series, which can be thought of as ...
The drums CAN play melodies, but the number of pitches and notes you have available are limited by the number of drums you have (not counting creative applications of "bending" the drum head to produce higher pitches).
Terry Bozzio is an example of a drummer who uses a massive drumset so that he can play more complex melodies on the drums. In a video of his ...
The "Shave and a haircut — two bits" rhythm...
T: Shave and a Haircut – Two Bits
K: clef=perc stafflines=1 middle=B
B B/2B/2 B B | z B B z |]
w: shave and a hair- cut, two bits!
...goes back at least to Charles Hale in 1899 according to Where does this famous rhythm pattern come from (oftenly used to knock on a door)?, ...
The notes with stems up are for singing in Italian, while the notes with the stems down are for singing in German.
Thus, in the first picture of the original posting, in Italian it would be
... while in German you should sing
In the second picture of the original posting, the Italian lyrics have only one syllable (“voi”) while the German lyrics have two ...
I can't understand very well note duration notation.
No wonder. The music you're trying to read is objectively incorrect in several ways. I won't list them all, but as you've noticed the vertical alignment is out of order. Furthermore, the rhythmic notation does not comply with the meter. Follow the advice in the comments to get a different copy.
Using only your ears, it's impossible to determine the exact time signature the composer would have used when writing the score. This is because there are many ways to write the same thing, all of which sound the same when played.
For example, a piece written in 3/4 time can easily be re-written in 3/8 time by halving all the note values and playing it half ...
Start by finding the beat. Tap your finger for every beat, like a human metronome. Resist any urge to tap uneven rhythms; just the underlying constant pulse.
Once you've got that, listen for the start of bars. There are various indicators that a bar is starting; an emphasis, a chord change, etc.
Now count. "One" for the first beat, then counting upward, ...
There was a trick for these that I used all the time based on what the rests look like.
The whole rest looks like a hole. The words sound the same so it's a good way to equate them.
The half rest looks like a hat and since hat and half both start with the letter 'h' they go together.
I like this trick a lot because it associates the rests more with ...
The dot above the quarter note is a staccato articulation which doesn't affect its rhythmic value. It's still a quarter note. If the dot was to the right of the note it would change its rhythmic value.
The sample has two voices. The top voice (sticks upwards) has a half note rest followed by a half note.
The lower voice (sticks downwards) has a staccato ...
They aren't necessarily supposed to be played with metronomical precision of the 13:8 ratio, but they are supposed to make up a homogeneous run with no unequal subdivision. In particular, there should be no note in the run that clearly hits the 2 beat, as the B and A do in your proposed subdivision, so that approach is no good. I would at least not train to ...
Yep, the second one is far better for precisely the reason you say. A general rule is that you shouldn't have dotted-notes that start on an off beat and carry through the next beat. There are exceptions even to this rule, but showing the underlying beat structure of the meter is paramount in the vast majority of situations.
Elliott Carter is an example of ...
This free-thinking question has already provoked at least
one thoughtful answer.
The sample score happens to have time signatures, however,
beginning with 4 bars of 4⁄4
and going into a bar of 2⁄4
before returning to 4⁄4 .
They're just stretched beyond recognition.
Close-in to unstretched 2⁄4
Minor nitpick: in your first example, the semiquaver should precede the minim. That will improve readability:
Major nitpick: The two rhythms are identical.
A crotchet triplet can be subdivided into 12 semiquavers. We're dividing two beats into 12 equally-sized divisions. The first example splits them into a group of 3 and a group of 9; that is, 1/4 (3/12) ...
They are actually eighth note triplets instead of eighth notes. The alternative notation to this would be to group the eighth notes and rests in threes and put a 3 over them like a standard triplet, but it's easy enough to see that you are fitting 12 equally spaced notes in a measure which end up being eighth note triplets which would kind of screw up the ...
Those are simply triplets. Think of it as :
But with the first two triplets tied:
Which results in your notation:
(since two eighths equal one quarter).
If you wanted a more specific name for it, you could say 'a quarter and an eighth triplet'
These two notes are to be played on the count of one quarter (one beat if your time signature is 4/4)
I don't know what keyboard that is, but that looks like the control for the ABC [Auto Bass Chord] system [That's a Yamaha term, other manufacturers may call it something else, but they all do a similar job]. Basically, it's a chord recognition mode.
When set to Normal, the ABC system is off.
Whatever notes you play, that's what you will hear.
A semibreve rest CAN be used in 6/8 time - or ANY time (apart from 4/2 - quite unusual)) to represent one bar's rest. At that point, it isn't actually a 'semibreve', but represents just one bar of that music. It's become a shorthand way of saying "one whole bar rest".
In elementary school, I was taught to think of the rest like a raft in water. Since a half rest gets two beats, it's like a raft carrying two people - light enough to float on top of the water:
The whole rest, on the other hand, gets four beats (in common time, anyway) and so it's like a raft carrying four people - enough weight such that it sinks down ...
Is this subjective or is there [a] method to this?
This question gives me another occasion to link to the Jacobs School Music Notation Style Guide, which is a great resource for beginning composers. In particular, here's what they say about notating rhythms:
While there are often multiple ways to beam and group given rhythms, some solutions are easier to ...
No-one's mentioned pans - aka steel drums They certainly are used to play melodies. The main problem is that melodies usually contain long and short duration notes, and drums generally can only produce short, so rolls have to be performed to 'sustain' longer notes.
For those who haven't had the pleasure, 40 gallon steel oil drums are cut in half, or less, ...
I'd go with grace notes, they are not counted in the rhythm, so you don't need to fiddle with the unreadable rest durations. Also, they are supposed to be played very fast. I provide several options with different meanings. The middle one is mostly understood and meant to be played as arpeggios where the g in the second arpeggio is not kept.
Sounds like you are trying to intellectually and analytically "understand" music. In my opinion, this can be done to some extent. Just like you can intellectually understand language and grammar, and use that understanding to write poems, novels and short stories. However useful it might be, it isn't really necessary to write great stories. What makes a ...
The eighth notes in the left hand are all triplets. The ones in the right hand are normal. Note how the note heads line up vertically in measure 4.
On a purely technical level, this is incorrect notation. But it's something that can be figured out pretty easily, so I guess Liszt either didn't care or wrote it like that for artistic reasons.
There are note values not notateable without ties.
A note the length of a crotchet (quarter note) + a semiquaver (sixteenth note) would need to be written with a tie, as there's no notation which says "add a quarter of the length of the note to its duration". We've got "add half" (dotted notes) and "add three quarters" (double dotted notes), ...
Technically speaking, you can't ever say for certain until you see the composer's original score (if there even is one); 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 this excerpt notated ...
It's not hopeless, but may take more time than others would.
A couple of ideas. While listening to music, start tapping, singing, nodding, whatever, and turn down the sound, initially so it's still just audible, for several seconds. Turn back up, see if you're still in time. Gradually leave the silence longer until you can manage several bars. I used to do ...
A bar's duration can be represented using the whole note
No, not always! This is the incorrect assumption you're making.
A bar's 'duration' depends on the time signature. So, in a standard 4/4 bar, the bar is 4 quarter notes long. (4 * 1/4...see where this is going?)
Alternatively, in a 3/2 bar, the bar is 3 half notes long, or 3 * 1/2!
So, whilst a full ...
While playing by yourself, you do what you want. In time, out of time, seems no-one cares! The potential problems will come when you play with others. I've played with many like you appear to be, and it's not hard work - it's almost impossible!
So, the decision will be yours. If you only ever want to play alone, probably for your own amusement, then take no ...
There are several rhythms that use the 3-3-2-2-2 pulse in flamenco music from Spain. One of the most well known is Bulerías, a seemingly simple but very complex sounding rhythm made even more complex by the fact that they count starting on 12 instead of 1 So the basic accents fall on:
An often used variation is:
This gives the ...