13

That is a bend or a dip. You make a clear attack on the note and then do a very slight glissando around a quarter or half step down and then return to the original pitch.


9

It's a bend: an articulation mark representing a brief flattening of the note.The note is attacked in tune but is immediately flattened - by up to a semitone - before coming up to pitch again.


8

My guess is that these aren’t negatives, but just dashes used to show that a shift is necessary to use the suggested fingering. For instance, maybe you are playing an F# on the E string and then need to play a C a tritone higher. I might give the fingering for the C as –2 to indicate that you should use the second finger, but that this will require a ...


8

The notes are not tied. This is relatively conventional notation for portato, which is rather like a "sticky" staccato with longer but still detached notes.


7

The suggested voicing may... be easier to play in and of itself be easier to play in the context of the piece facilitate the desired voice leading (e.g. it might contribute to the impression of a smoothly-moving bassline) sound better in the arrangement (e.g. you might want to avoid bassy chords if there a lot of other bassy instruments) sound better with ...


7

It depends on the music sheet. Piano music often has guitar chords listed above the grand staff, so you could have been using piano music for guitar. If you’re using made-for-guitar lessons or lead sheets then its probably not appropriate for piano, though you may have some melody lines you could play there. As a very rough approximation, if you have a ...


7

This is called a grace note. Its duration can be stolen from either the note before or after it, depending on the stylistic context. I think the slash is intended to indicate "as fast as possible".


6

Work out the chord shape? That's not always possible from piano music to guitar. Work out the chords themselves is easier. First is to establish what key the piece is likely to be in. Here, with 5 flats, it's either D♭ major or its relative B♭ minor. You can read the dots, so in the first bar, there's predominantly B♭ F and D♭ notes. ...


6

Since you can read the notes, you can quickly work out that the first bar is Bbm. Half was through the next bar might just be Ab or potentially Absus4. Then the next bar Gb7. You have to analyse each bar or half bar. There will be passing notes and extra notes that don't need to be included in the guitar chords. You have to decide what sounds right to ...


4

The arrows could refer to the finger positions. The first E-flat is low 1st finger. The second one low 4th. If the F you mention is on the E-string it is low 1st, if it is on the D-string it is low 2nd. And so forth. It is common in violin sheet music to indicate low finger positions with down arrows, especially in music with pedagogical intention. EDIT: ...


3

In addition to the other answers, I would say that music written expressly for guitar is usually going to be different from music written expressly for piano, even in the same piece of music, because the instruments are different. Guitar and piano have different strengths and weaknesses, and this is reflected in the music written for them, if it's at all ...


3

Two separate issues here. LEARNING guitar and piano and PLAYING 'songs'. Guitar and piano have different techniques, different hand positions, different approaches to playing scales, chords, melodies... You need to learn guitar from a guitar tutorial, piano from a piano tutorial. Once you have some fluency on each instrument and want to play 'songs' ...


3

Piano music is written using both G (or treble) clef and F (or Bass) clef. Because of this you can absolutely play your guitar music on the piano. Guitar is written in treble clef but in a different octave than the instrument is played in. The problem you will run into is that you will not have anything for the left hand to do, or you will have to try ...


3

This is quite a guitar led question. There are several chords/voicings which are instantly recognisable when played on guitar – let's face it, there are far more voicings available on piano for any given chord – due to the restrictions of notes available all at once on guitar. The open E, or A, or D as examples. A lot of the chord windows I've seen in song ...


3

The left hand part is just power chords (= root + fifth) so you can probably get away with just playing the root note (since the fifth is implied by being present in the overtones). If you want to play full triads, then look to the key signature and the melody to find whether it's a major or minor chord.


3

For the most part, using chords shouldn't be about what sound you want, but what purpose the chord has, or where it lies in the key signature. For example, you would probably use a m7b5 or diminished triad as a leading tone chord if you wanted to as a dominant functioning chord, but you wouldn't just base a m7b5 or diminished chord on the fourth scale degree,...


3

The typical use of square brackets is, to indicate an addition made by the editor, but not present in the original (urtext, in that case of the piano duet; this is actually by Dvořák and preceded the orchestral version (see Wikipedia). Its first printing can be found at IMSLP). Your proposed meaning is in my experience only expressible as text (e.g. "2nd ...


2

How similar or different are the music for the 1st and 2nd times through those 8 bars for the other instruments/singers? All parts must be notated with the same repeat-volta arrangement, so that if someone says "let's start again from bar 9" (or whatever) everyone has the same notion of where in the music that is. So it might be necessary to write all the ...


2

Beginners of violin playing are used to learn first little melodies in major on the E, A and D string: the motifs like DoReMiDo will be (analog to Guitar frets) 0,2,4,0. The arrows above F, Bb and Eb are assigning that the finger position is now lower compared by F#, B and E. So I agree with Lars Peter Schultz, additionally trying to show the pedagogical ...


2

In this particular case the job is easy. The LH has a simple series of open 5ths. We can assume these are the root and 5th of the chord. So bar 1 and the first half of bar 2 are a B♭ chord, moving to an A♭ chord in the second half of bar 2. Now look at the melody. If the first chord was B♭ MAJOR we'd expect to see some D♮ notes....


2

Yes, a slide up to the note. Not a connection from the previous note, but a new start. The notation of this piece, though it superficially seems meticulous, is actually rhythmically illiterate and would be very difficult to read.


2

There is only one way: learn existing songs and arrangements, see how they use chords in relation to melody and rhythm, and how it makes you feel. Theory might give you ideas about which aspects to pay attention to and how to organize it all in your mind, but ultimately it’s a matter of taste and you develop a taste by tasting lots of things.


1

The notes in the staff would likely restrict the "chord shape". If you simply had the letter names of the chords above the treble clef you would be free to choose how they are played for the most part (even chord names indicate an inversion when properly notated). What you need to do is transcribe the bass clef so that all the notes are in the treble clef ...


1

This an exercise named DU STYLE which is No. 2 from Trente Six Études Transcendantes pour Trompette by Theo Charlier published by Alphonse Leduc. Lucienne Renaudin Vary performing DU STYLE


1

The straight line could be a glissando or a portamento. A portamento is a smooth change in pitch - like you'd do on a trombone, violin or swanee whistle. A glissando is what you'd do on an instrument like a piano or xylophone (instruments that only allow discrete pitches to be played) to give the impression of a portamento. You can't do a smooth pitch ...


1

They're simply drawing attention to the fingering. These arpeggios in every other key use a 1-2-4-5 fingering for right hand in this inversion. The arrows just are highlighting the fact that one should note the 3rd finger use in these few keys.


1

Ultimately the choice of voicing should be driven by the movement of the voices from one chord to the next. Following the classic approach to harmony theory we strive to create smooth small interval movement from one chord to the next. There is a whole discipline devoted to this. This should not, in general, be driven by whether or not a guitarist can ...


1

You can't. This might just be a lazy arrangement that didn't bother to represent the voices clearly. (This is quite common in pop transcriptions that may not try to give all the details.) You're right that if you wanted to more accurately represent what the piano player is doing in your linked video, there should be a separate quarter for the D with a ...


1

An example of your guitar 'sheets' would help, but I think some general comments can be made. Guitar clef is normally treble or "G" clef. A pianist can read that clef. Well... a good pianist should be able to read various clefs. Your sheets may use the G clef and be readable by a pianist. Your sheets may be guitar tab or lead sheets both of which can ...


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