38

It's not an ornament; it's a quarter rest. The Violins I are divided, and the upper half play rest + quarter note while the lower half play half notes.


38

I would argue that your melody may not be in C major at all. C major and A natural minor share the same pitches, and your melody is constructed precisely in such a way that it can exist both in C major and in A minor! You might think, "Well, the first measure emphasizes C and E, which are both members of the C-major tonic triad." But they're also ...


22

You started in key C major, and you've modulated into key Am, its relative minor. True, there's no G♯ note in key C major, but key A minor has three slightly different incarnations, when written in scalar form, two of which actually do have that G♯. Those notes just before the last note, A, all work with the chord E, which most times in music will lead to A. ...


11

Although A minor does not natively include G#, it is common practice to use G#, because it is the leading tone in A minor (and major). That is, it "leads" the ear to A, just as you've described. This idea is also discussed in When to deviate from scale? Technically, what you've composed is called a sequence, a pattern of sounds that is repeated on ...


10

Phrase marks here rather than slurs. (How would you slur the first four notes?)Yes, in this case where the melody moves between the staves, the phrase applies to the whole melody. But you'd phrase the entire melody that way whether the phrase mark was there or not. But don't try to dissect this sort of writing too minutely. How shall we play those last ...


10

You can use DS, DSS, coda, double coda but why? The song as is is only 27 bars. Eliminating a road map would add 16 bars (an extra verse and chorus if I’m reading it right) and avoid any possible confusion of missed signs, repeats or repeat endings. Write it out from top to bottom, you’re better off, especially if others will be sight reading the song. Plus, ...


8

Like Dekkadeci, I'll note that the main body of the passage in question does not mention trumpets. Why is it that key-signatures are 'irrelevant' to horn? The tradition arose because natural horns always played as transposing instruments in the key of the piece; beginning in the late 18th or early 19th century, the transposition could change in the middle ...


7

I play trumpet and horn, and have played both in orchestras for many years. Both instruments used to not be fully chromatic (mainly playing their overtones) and so they'd be crooked into the key of the piece (usually). Thus, the part is transposed to read in C and the parts always end up with no key signature (or rather, the key signature of C major). Now, I ...


6

This line helps the eye track the melody across different clefs, instruments, or voices. Here indicates the melody moving from the high voice in the bass clef to the low voice in the tenor clef. In piano scores, the marking is intended to guide phrasing. For example, this melody bit should probably be "brought out" - it is unlikely that the ...


6

I've often wondered why this causes confusion. If the accidental was on a note other than a grace note or an ornament you would not think twice would you; you would know that it still applies. However because its on an ornament a doubt arises. I think that this is because we tend to view ornaments and grace notes as less significant because they are ...


5

It's quite possible that those concert horn players are following an earlier music tradition where French horn parts were consistently not notated with key signatures, regardless of the home key of the piece. Implying such a music tradition exists, the Boosey & Hawkes-published scores of Edward Elgar's Pomp and Circumstance Marches No. 1-4, which were ...


5

The slurs in this case are serving as phrase markings; notice that they correspond to the punctuation of the lyrics. They also indicate legato playing, and they are intended to apply to both hands. In measures 5 and 6 in particular, the idea is to keep a legato connection of the melody as its notes shift between hands. This arrangement of the song employs a &...


5

Hypothetical Italian repeat markings answer: If and only if codas, segnos, etc. were the only tools at one's disposal, I would suggest D.C. al Coda ("Da Capo al Coda"; roughly "from the head (beginning) to the tail (ending)" in measure 17, which jumps the piece to the beginning. This could also be accomplished with "D.S. al Coda&...


3

I'm a newbie at this stuff but I'll take a crack at explaining why it sounds good to me. I think we can simplify the melody by reducing the n,n+1,n+2,n eighth notes (like C D E C) patterns to the first note n and removing the trailing eighth notes; brief or unrepeated notes make less of an impression. So then we're left with C F|B E|A D|G# A. We can break ...


3

Easiest way I can think of is to simply treat your instrumental break as the third verse. You could simply add "instrumental" underneath the lyrics for the second verse. Unless I am mistaken, the chords are the same. This is a simple solution, and it shows to the musicians that the form of the solo break is identical to the verse.


3

You can notate it this way: Verse First ending, marked "to chorus" Jump over instrumental section Chorus, with D.C. Second verse Second ending leads into instrumental, then chorus End


3

You have fallen into the trap of assuming that the 'Natural minor' scale is the ONLY form of minor scale. Until quite recently, standard teaching was that the Harmonic minor scale was the norm, sometimes modified into the Melodic minor. But they both used the sharpened leading note when ascending, which enabled a major dominant chord, a central feature of ...


3

You're looking at what is called a "lead sheet". The intention is to provide the melody and basic harmony (chords) of a song. The chords are derived from the originally published song, or, in some cases, the song was composed initially as simply a set of chords with a melody. For example, Miles Davis's "So What" and John Coltrane's "...


3

Probably because the composer wrote that chord when the music was composed. He probably wanted that particular sound or feel related to the melody. So whoever published the sheet music has seen the original music and therefore seen what chords the composer wrote in relation to the melodic line. The colour of the melodic line is closely connected to the ...


3

First of all, don't listen to songs by watching videos: your mind is concentrating more on the pictures than the sound. Close your eyes and listen! Secondly, you need to train your ears (and body) to distinguish between 4/4 and other time signatures, especially 3/4 and 5/4. It would be best to listen to unambiguous examples of songs in these time signatures ...


3

Great question! Whilst an acciaccatura generally plays a note a semitone higher/lower than the target note, that would sound odd here, if the target was in fact B♮. Making the final 'chord' B♮ with B♭. As you say, B♮ isn't part of the designated chord, so odd it would be. Th slur (or is it in fact a tie?) is often (but not always) part of the sign, but here, ...


3

As like when you learned to read and write, you need a great deal of exposition to scores and sheet music to read it well after a time. If you don't read a single note on staff, you can discover the mechanics even on wikipedia. There's plenty YouTube videos on this. It's is fairly easy and straightforward system - but can escalate rapidly to complexity on ...


3

Use pencil to write proper note literals (C, D... etc) in the score papers. Use software for sight reading, and stickers for keys. After you will mark a 1000 pages, recognize and mark with a pencil only the altered notes. When you will cope with another 1000 pages I am sure you will read any score better/faster than many conductors. Play guitar and violin ...


2

Yes, historically valveless horns and trumpets were built (or adapted with interchangeable slides) in different keys, but always written 'in C'. A modern orchestral horn player will still get given parts for 'Horn in D', 'Horn in Eb' etc etc. and will transpose them on the fly for his modern 'Horn in F'. Which will probably be a 'Double horn in F/Bb'. ...


2

The answers already here are great. Forgive me if this is covering something you're already on top of, but let me take it back to the very first step. So time signature ("meter") is all about how beats are grouped together. That assumes that there are beats. Listen to this: This shakuhachi performance is "...


2

Your melody's inherrent harmony (the one you imagine when you hear it) is C F | G C | a d | E a (lowercase indicates minor chord) This is more natural than having e a in the end, which would not have nearly as strong of a gravity towards the final note. You can also try A d | E a (i.e. using c# in bar 3), it will get yet a different feel, and whoa, you'll ...


2

I don't know whether it's possible to shorten the code you have provided (I doubt it but perhaps someone will know a way). However you could use \set tieWaitForNote = ##t to a good effect here. When it is set to ##t, each note with tie waits for the next occurrence of the same note and ties it with that. So your snippet could be rewritten like this: \...


2

Piano player only plays the lower two lines - the top line is what the singer sings.


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