Michael Seifert
• Member for 6 years, 6 months
• Last seen this week
• New London, CT

For what it's worth, here's what Berlioz has to say in his Treatise on Instrumentation: The composer, when indicating the use of mutes in the middle of a piece (by the words con sordini), must not ...

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. ...

If you have access to a good academic library, then the following article appears to be on point regarding the Western tradition: S. Dostrovsky, Early Vibration Theory: Physics and Music in the ...

I'm not a harp player, but it appears that this is done with the harp equivalent of prepared piano on a few strings. About four or five strings of the harp appear to have some kind of putty attached ...

The ratio between the frequencies of successive half-tones in a 12-tone equally tempered scale is 21/12. So to lower the frequencies by a half tone, you need to stretch the file so it is 21/12 ≈ 1....

Here's your original line, almost exactly as you wrote it: X:1 M:9/8 K:C V:V1 clef=bass L:3/8 C, G,,2 | C,/2A,,/2 G,,2 | C, G,,2 | A,,/2C,/2 A,,/2(G,,/2 G,,) || Note that the last tied note is held ...

While you said "not a lap steel" in your question, I did want to make sure that you were aware of the console steel guitar and the pedal steel guitar. These two instruments are ...

It sounds like a small hammer hammering on metal. Good ear; while Wagner originally called for anvils, modern productions use metal hammers on heavy pieces of scrap metal to create this effect. ...

The Indiana Jacobs School Style Guide, has some great advice about how to notate complex meters, in their section on "Meter": Dividing Complex Meters. Since the beat value of complex ...

From an article by Ralph Wood entitled The Piano as an Orchestral Instrument (which is dated 1934, so maybe there's more recent scholarship): So far as I know, the earliest composer to add the piano ...

Your "leftovers of general math" have, I'm afraid, lead you astray. If we want to look at all possible 4/4 bars with 16 sixteenth notes, and each sixteenth note is picked from one of 13 ...

As noted, this piece is an exercise designed to help students learn to switch between clefs with ease. For "real" music, here's what Elaine Gould has to say in "Behind Bars" (a ...

Well, this is a fun math problem. If you clap n times for every m ticks of your clock, then this corresponds to 60*(n/m) beats per minute. It's not too hard to assemble a list of values between 30 ...

You might be interested to read up on the Hornbostel-Sachs classification system for musical instruments. Specifically, under this system, wind instruments are categorized as follows: Edge-...

There are a few, but as you might have guessed, they are not terribly common. The alto trombone is pitched a perfect fourth higher than a tenor trombone. The range is usually considered to go from ...

This is a vestige of the history of the horn. Before the Industrial Revolution, the only horns that were available were natural horns. Natural horns can't play a full chromatic series; they sound ...

Time for some physics! A guitar pickup consists of two parts: a permanent magnet and a coil of wire. These can sense the motion of nearby ferric object (like a steel guitar string) by taking ...

It's your composition, and I would think you could call it anything you darn well pleased. There are no hard-and-fast rules about what counts as a "symphony", a "serenade", a "divertimento", a "suite"...

Most full scores have pieces have the instruments listed in front of their staves at the beginning of each movement. For example, the score that's posted to IMSLP for the canata you mention lists for ...

You asked for an example of what triplets & "conventional" notes sound like together. The king of this was Anton Bruckner. He used a figure consisting of a duplet and a triplet quite often in ...

Behind Bars does not appear to address this directly. However, even in paragraphs of text, Gould consistently prints time signatures as two numbers stacked on each other, in bold face, exactly as ...

The second measure is fine, but the first one is wrong. The general rule is that your notes should never cross the "major beats" of the bar. In 6/4, the "major beats" are two ...

Conventionally, a triplet is played so that its three consituent beats take the time of two "normal" beats. So as notated, you're right; each of those "triplets" consisting of an ...

The individual parts on IMSLP are from a different edition, and have accidentals turning those notes into D♮'s: (From the Flute I part, p. 9.) Which version is "right" I can't say, but at least ...

An older option is MUP, which has been kicking around since 1995 and is now open-source freeware. It takes in an input file that looks like this and outputs a PostScript file that looks like this. ...

Have you considered explicitly keeping the melodic line in one hand (probably the left) and having the hands cross in mm. 143 & 145? This would emphasize the continuity of the repeated brass call-...

brettv's answer drawing from Alan Boustead's book is a good one. For comparison, here is the advice given by Elaine Gould in Behind Bars. All of the below quotes concern orchestral parts; ...

In addition to the answers so far, I have a couple of other things that you might want to modify and/or clarify: In the clarinet, contrabassoon, french horn, and trumpet parts, there are some places ...