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I have been singing in a (classical) choir for several years, including the occasional solo line, and am now seriously considering voice lessons. However, finding a good teacher seems like a daunting challenge. What should I look for in a good voice teacher?
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I've heard it said that, whilst on most instruments these notes are played with the same fingerings/technique/etc., there is a subtle difference.
This isn't specific to this particular note combination, but to all enharmonic equivalents.
What might this teacher have been referring to?
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Oftentimes major keys are called "happy" and minor keys are "sad". Why is this? Is it universal across cultures that use these scales? Do similar connotations exist in other scale systems?
(If this isn't universal, then perhaps someone could explain which cultures it is sad in and why.)
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Consider four cases:
A-flat major
A-flat (natural) minor
A-flat melodic minor
A-flat harmonic minor
I start them with the third finger on the A-flat key (both hands), but I have no idea how a professional pianist would do it. Help!
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I play guitar, and am attempting to teach myself the piano. Which notes from a scale form the chord on the keyboard? Is there a common rule for this?
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This seems like such a silly question, but! When playing the piano, I sometimes struggle to turn the pages of my music without noticeably sacrificing the sound of the piece or making the book / sheets fall. For a complicated piece where there isn't a break in one hand that would allow raising a hand to turn the page, is there a trick I can use to quickly flip the page of music and keep the music going?
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I have a piano that is out of tune, and I know tuning pianos properly is complicated enough to have its own profession. But I think it would be interesting to have a go myself, for fun.
But is this even meaningful? Could I spend a day with some instructions and get a half-decent job done? Or would I just damage the piano or make it worse?
Good instructions (books or online) for learning how to tune a piano would also be appreciated.
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It seems almost a redundant question, but the meat of it is this:
If one is using the three chord trick, is it stylistically required by rules of theory and phrasing to end the progression on the third chord? While it is pleasing to the ear to complete the phrase and repeat after three chords, will extending the phrase cause major disharmony or dissonance? What concepts of music theory can be cited to support this?
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What are some exercises or tips to help singers improve their breath support?
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I have been working my way very slowly through Bach's Well Tempered Clavier for some time now.
I have essentially just started at the beginning and worked on a piece at a time and so far made it about half way through the first of two books, to a standard I am happy with.
What approaches or disciplines could I adopt to speed up learning written pieces of music?
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I know that one scale consists of 12 half-tones. But my question is still: Why? Why not 13 or 11?
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As a mostly untrained conductor, one problem I've always had is keeping track of problems with a piece as we work through it. Something will stick out and I'll want to go back, but all I could manage was a slash or other simple mark that isn't enough information to fully recall the issue.
Is there a common method for recording musical issues for later correction?
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I'm currently learning to play piano for 6 months and every time I learn a new piece I learn it like this:
learn the first line, play it until its pretty good
learn the next line and play the first line each time before it
when making a mistake repeat the whole piece
etc...
I wonder if this is the good way to learn, or that trying to play the whole sheet at once is a better idea as the whole piece is learnt evenly.
Perhaps the way to learn a new piece is personal, but often there is improvement possible in the way you learn something.
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Often times we find ourselves enjoying a piece of music that, for whatever reason, we are unable to find appropriate documentation/tablature for. What are good practices for transcribing music by ear if one does not have perfect pitch? Is there a specific piece of musical anatomy (such as the key) that will make figuring out the rest much simpler?
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My piano skills are the weakest part of my conducting/rehearsal technique, so I'd like to work on them essentially starting from scratch. I don't have the option of a piano teacher, so I'm looking for method books or suggestions on what to practice that will help with my goals:
I'd like to be able to play through, say, a typical short 4-part Palestrina motet or a Bach chorale up to tempo with good accuracy after a couple of tries, with the eventual goal of sight-reading that kind of piece. My theory background is good and I can work out on paper a figured bass, identify chords and progressions, etc. I know more theory can only help my piano, in terms of being able to anticipate more of what's going on in a piece so I can play by "skimming" in a sense. My biggest problem right now is getting my hands to work together, and to some extent reading bass line quickly--I've only ever sung treble and played seriously instruments that are notated on treble clef, so I'm still slower in other clefs after all this time.
So, I'd like something like an "adult piano" book, but one perhaps for people who have theory background and experience on other instruments, and repertoire-building in terms of performing myself not being the goal.
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I'm currently learning to play Comptine d'un autre été from Yann Tiersen (Sheet music(pdf) - youtube video) and when I play starting from the 13th bar I barely hear the notes my right hand plays.
Obviously I should play my left hand less loud but this seems a hard thing to do for my brain as it seems to play both hands in the same volume, and when in some occasions it works to play some of them quietly, the timing is off between the notes.
What are some good techniques to learn to play one hand less loud than the other whilst the timing stays correct?
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As is well known, this suite was composed for a cello with a scordatura tuning C-G-d-g instead of the classical C-G-d-a.
I have seen almost every possible combination:
edition for specially-tuned cello in "sounding" notation
edition for specially-tuned cello in "physical" notation
edition for normally-tuned cello in "sounding" notation
edition with several staffs with two of the preceding cases.
What I mean by sounding, is that the note on the part is at the pitch that one hears.
What I mean by physical, is that the note on the part is the one you would play if you were putting your finger on the right place on a normally-tuned cello.
There may be other variants I have not seen, without speaking of the style of fingering, of using the tenor key, or coping with the adaptation to the normal tuning, etc.
What should I try to use ? I feel that all choices have strong drawbacks.
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Western music has Scales (major, minor, etc.) while Eastern Music primarily has a large number of Raagas derived from some basic Thaats. Both these groups represent sets of notes on which actual song tunes are based, yet they have very superficial similarities.
Given the universal nature of musical notes and what qualifies as a song tune, I wonder what are the fundamental differences in these two groups of foundational musical constructs?
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I'm a member of a small band, and a common problem that arises when playing faster-paced music is keeping everyone in sync, rhythm wise. It goes without saying that one person falling out of time can trip everyone else to disastrous ends. A few things to keep in mind:
1) The stage is hollow and acoustics are traitorous. The thumping echo from heel-taps are far too distracting.
2) Drum tracks are too campy, and we lack the equipment to play a rhythm/metronome to each player personally (i.e. with an ear bud)
With these limitations, what would you suggest?
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I have years of vocalization practice, but I still start straining while singing—especially if I am not vigilant. It happens imperceptibly and is a hard habit to break.
Is there a reliable technique to make sure that I don't lose my effortless natural voice while quickly going from chest to head voice and back during a practice session?
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Since there aren't many drumming or percussion related questions, I will start this out with one of my own. As a drummer of almost 20 years, I still have a weaker left hand (and arm), despite trying most tricks I have heard about. Anyone else have any ideas/methods for increasing ambidexterity for stick control? Not just "play more rudiments" ...
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As the title asks, I wish it could be clear to me. Can someone give me a good characterization? Do you produce them differently on a cello than on a violin or viola?
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What is the logic behind this ?
As the larger instruments have larger gaps between the strings, I would have expected a larger bow to accomodate more easily continuous bowing while changing strings.
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One of my struggles with playing the piano is that I have small hands. I can reach an octave - mostly. I can reach it, I just can't maneuver between octaves quickly. Often times a piece will have a running stretch of octaves that I am unable to play. I am completely unable to reach a ninth and above.
Are there any well-known composers (classical, baroque, romantic, jazz, etc) who generally wrote pieces suitable for someone with a smaller reach? It is so very frustrating to look at a piece and have to attempt to make concessions in the piece just to be able to play it.
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In a few pieces of music I have read through, I have come across double-sharps and flats.
To my understanding, they are two semitones above/below the note indicated. What is, then, the point of these notations? Why don't you just write the equivalent note and avoid these accidentals?
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I play Alto Saxophone, and I've been wondering this for quite a while now.
I've not played one single overtone yet, so what are your suggestions?
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In my edition of this piece, there's very specific (Ped) (*) markings, which suggests to me that the composer is laying out all the pedalling.
However, a bit after the Forte/fermata in the long section without measure bars, he seems to have slacked off, or forgotten a 'simile' -- there are eight arpeggios apparently without lifting the pedal. This seems a bit hard to believe.
Also in this piece, I wonder what musical distinction is to be drawn between a comma and a fermata over a bar line.
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I heard that it becomes very difficult to learn to play violin after a certain age (14 IIRC). Is that correct? And what is the reason?
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I have noticed that some people are better at hearing music, e.g. they are better in distinguishing the notes or noticing mistakes when someone is play.
Is it possible to train oneself to hear music better? If yes, how?
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I would like to learn to play the flute, but it is nearly impossible to find a flute teacher around here. I have tried the music store and they don't teach the flute there nor do they know of someone who does. I looked online through a large number of directories designed to help people find a teacher and I seem to be out of luck.
I know for a fact that there are people around here that teach various instruments. However, no-one seems to be listing their skill in the paper or on Craigslist. What can I do to find a flute teacher? Should I list that I need a flute teacher in the paper or something?
My last flute teacher was located right outside Chicago, over 60 miles away, which turned out to be too far for me. I live in SW Michigan, but going to NW Indiana wouldn't be a problem.
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I would love to be able to learn the flute by playing more popular music. However, all the free sheet music that I can find for a flute in the key of C is lame stuff like "Jingle Bells."
In my search for songs that I would like to play on the flute, I find music for clarinets, saxophones, etc... all written in different keys. Is there some sort of software I can run sheet music through that would transpose it into another key (preferably the key of C, high enough for the flute?)
Furthermore, I understand that transpose means to move the notes according to the pitch. What is called to move it up or down according to the octave?
The flute is a really high instrument and, in learning, it's frustrating when I find sheet music written in the key of C, but too low for the flute. I feel that a more experienced player could just read the note and play it by transposing it in their head, but I'm brand new to reading music so it would make playing and learning significantly easier if I could have sheet music written specifically for the octave and key my flute is in.
Is there software that can both transpose it and/or move it up an octave or two?
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One's first public performance can be daunting in terms of the amount of anxiety involved. How should first time performers who have never been on stage (or performed in front of unknown people) deal with this? What are some good tips that seasoned performers use?
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Some teachers use them and some don't. I've heard that they can become a crutch and cause delayed ear training development, but others say they are necessary at the beginning.
Can they really cause problems? Has this been studied in any kind of way? Has it been addressed by a respected author? Should they just be used because they make life easier?
Thanks,
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I'm working on the piano accompaniment to Schubert's "Trockne Blumen" variations for flute and piano. Variation 2 is all sixteenth-note octaves in the left hand. I began by practicing very slowly with the metronome and gradually increased the tempo over several weeks up to a quarter note = 80. This is fast enough for the performance (which will be in two months) but it is still tiring, and the octaves still sound like I'm struggling with them. (On recordings, professional pianists play them quite smoothly at 96.)
Do you have any tips for practicing these?
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I taught myself to play the recorder (soprano) - just the basics - but I have trouble with the F. It just doesn't sound right. Sometimes it sounds too close to the E, sometimes it even sounds like it is lower than the E.
I have seen this fingering listed in a number of online resources, so I don't think that's the issue. Even with that fingering, could I be playing it incorrectly? Is it something that people who have taken lessons get tripped up on?
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I'm studying music theory in the UK, aiming for ABRSM Grade 5, currently working for grade 3. I'm having trouble grasping the rules for when to beam quavers.
In my study book, by Eric Taylor, I see these "rules".
Beam together four quavers which could be replaced by a minim. Example: in 3/4 4 beamed quavers, followed by a crotchet.
In 4/4 beam together 4 semi-quavers, so a bar of sixteen semi-quavers, we have 4 beamed groups of four, one group per beat.
In 6/8 we beam in two groups of three, one per group per beat.
So here we seem to have two different approachs. In the 4/4 and 6/8 cases we beam "per-beat", in the 3/4 case we beam across two beats. So the 3/4 case seems to be anomalous.
Is there a simple rule here, or maybe a general rule with 3/4 as an exception?
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I'm interested in playing the (diatonic) harmonica with the distorted sound they use in many rock and blues bands (Jason Ricci is one example among many others).
From what I understand, how you hold the harmonica together with the microphone (as long as you're using a bullet mic) is what matters most to get the sound right, but I've heard a few people say that a valve amplifier is needed.
I currently have a Laney AH-100 at home that I use mostly for keyboards and guitar, and I was hoping to be able to use it to get the sound I want on the harmonica. Is it possible, or do I absolutely need to buy a valve amp?
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While reading some of the questions about transcribing music here. I have come across these software tools that allow to slow down music and manipulate it freely. I think this is very interesting stuff and would like to dedicate this thread to make a kind of listing of the existing software with a description of what they can do.
It would probably be best to limit the answers to one program per answer and make the thread a community wiki. I think this can be a useful reference for when similar questions about transcriptions will come up again.
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Are there any finger exercises I can perform even when I am not near a piano to improve my dexterity and strength of my fingers?
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I'm trying to learn to play the harmonica, and one thing I haven't quite figured out is how to consistently bend notes. (I can only hit two and three draw, inconsistently, for a semitone, and can only do it with my tongue "out of position".)
Do you have some tips on note bending on harmonica?
What are some good exercises for practicing note bending?
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There are a lot of different opinions about Charles-Louis Hanon's "The Virtuoso Pianist in 60 Exercises". Some say it is unmusical and can even lead to wrist damage, while others think they are the best exercises around. I am a beginning piano player — how should I regard these exercises?
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The Thompson's books are divided by grade (first grade, second grade, etc.). Aside from that, I have encountered a pianist who says that he is considered to be an X grade pianist. What is this grading system exactly?
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Soon I will have the pleasant duty of leading an amateur choir at a two-week summer camp. I am looking for warming up pieces that are easy, but fun. It should be possible to learn them without having to read the sheet music, but also a bit more advanced singers should have fun.
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I play the drums in a band, and the song has already been written and everything that the vocalist, guitarist and bassist will play. The drums were left out and I have to write them to fit the song.
The song is written quite systematically in that they follow the notes for chord progressions and movement, but the drums have an indefinite pitch. So should I neglect all the effort that went in for the rest of the performers to write notes that fit into grounded musical theory and play what just sounds good and just stick to a rhythm that respects the song's timing only? Or can I consider the 'notes' that the drums play as well?
I am in a position where all the other instruments appear almost scientific and the percussion much less so. To what extent is this true?
referring to the comment of neilfein below: what kind of strategies are there to approach these kinds of situations? (which actually summarizes what I would like to learn from experienced drummers)
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I am 25 years old, and I started learning piano about 6 months ago. I really want to play the piano well, but it takes me so long to be able to play any piece of music. In the meantime, I'm using a pencil to write the note letter next to the note I want to play. What things can I do to improve my sight-reading?
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I have been trying to explore music theory concepts programmatically, namely through music21 software, but I've run into a lot of trouble. Are there any other frameworks for this?
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Are there usable free sources for (symphonic) orchestra scores?
I'm talking about legal sources for pieces that are now in public domain.
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I am currently a beginner at the piano. I know using the metronome is important, but I I'm feeling reluctant to use it often, as it is difficult for me to get the music coordinated with the clicks.
Is there any tips on how to get used to it?
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Baroque and minimalist music are two of my favorite genres. In particular, I like the repetitive note sequences with variations. J.-S. Bach's Goldberg Variations and Phillip Glass's Naqoyqatsi are good examples of this.
What similarities do these genres share in a way that might impact how they are performed? Do they have any common foundations in particular aspects of music theory (besides the trivial)? Are they historically related?
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I had a 10 year gap in my violin play and I'm still having trouble remembering the correct fingering (specifically for 4 and more sharps/flats).
Where can I find some fingering charts/schemes available on-line, or do I have to dedicate some to create them for all/most of the scales?
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I've practiced enough that I can recognize two-note intervals in isolation (sequentially), but this doesn't seem to help that much for understanding actual songs. What exercises would help to go beyond this?
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Ear training is a very important ability for any musician to develop. From intonation when singing or playing an instrument to playing and transcribing by ear.
What is the best way to improve this? Is software like EarMaster or GNU Solfege any effective? Or is it a non natural way to train your ear?
People have been learning this skill for centuries without these tools.
Some people say you should just sing or play a lot, but what if you can't hear that you're out of tune and keep practicing incorrectly? Should you sing or play then with an electronic tuner to get some feedback or is this also a bad idea?
What is the correct approach based on studies, experience, own learning or teaching?
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With some score books, if you try to open it and put it on a support, it will close itself.
For the moment I have to force and fold it but it damages the spine of the book.
Do you have techniques to open those books without damaging them too much?
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I would like to know how to compose tuplets of odd numbers against even numbers on the piano (ie. 3 against 2). How would you go around composing something like this? I have been composing for some time (mostly small stuff) and whenever I try to write something like this, it is either hit or miss.
I'm sure professional musicians don't randomly plug in tuplets here and there hoping they will sound good. (Chopin writes many tuplets on straight notes) I'm quite positive there is some harmonic relationship going on in there, but I just can't see it. (Perhaps they act something like passing tones?)
I am specifically looking for any rules (suggestions) or techniques for composing this way. If you know of any external articles or sources, I would greatly appreciate the link!
EDIT: Oh good point Matthew! I never considered the rhythmic effects of 3 against 2. How would that affect a composition?
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I have 24 sessions in which to deliver basic music theory to university-age students. Although they are likely to do some singing in their future careers, they are unlikely to receive further musical training apart from singing lessons.
I was introduced to the concept of Kodaly movable-do solfege comparatively recently, and have found this useful in my lessons, using it alongside more traditional ways of working with the stave. I would like to use it more coherently, but it is hard to decide the most effective sequence in which to introduce music theory concepts (for example, key signatures, chords) when using solfege. Many books on Kodaly teaching give a suggested sequence of work, but they are usually aimed at teachers who are:
working with children (so they start with material such as nursery rhymes or two-note chants)
working over an extended period (e.g. over many years of school education)
Can anyone recommend a more intense programme of work, introducing music theory concepts through Kodaly Method, aimed at beginner adults?
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I've heard that much music we think of as "baroque" was actually improvised, and only later set in stone. Is this true?
I'm currently playing baroque-style continuo/bass lines in a duo that riffs off of baroque and folk music, and the answer to this might help me interpret these pieces.
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I think by now most people agree that perfect pitch is not genetic. We understand that most people who do possess perfect pitch acquire it very early in life, (around the same time most people acquire language) which makes techniques for training absolute pitch very difficult to pin down. Just as it is possible, however more difficult, to learn foreign languages after age 5, it follows that it should be possible to train absolute pitch in older musicians as well.
What specific techniques and exercises have you found to be most effective? Edit: Particularly, once one has gained an awareness of absolute pitch, what have you done to refine and hone your ability?
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There have been several popular music games in recent years, but they seem to be most useful for developing a sense of rhythm. Are there any games that are helpful as ear training exercises? What would you recommend?
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In this piece, fourth of the five Images Miroirs by Maurice Ravel, there are three “double glissandi”, ascending then descending, over white keys of the piano. One of them uses a fourth interval, the next one uses a third interval.
What fingers would you use to perform those glissandi?
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Debussy's Étude pour les agréments focuses on all those small symbols in a score that indicate some intent from the composer: accentuation marks, hairpins (crescendi, decrescendi), pizzicati, appoggiaturas, rest commas, etc.
Do you usually read all of them and memorize them along with the notes without skimming a single one?
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This Étude is really painful for the right hand. Difficulty comes from medius, ring and little fingers playing chromatic scales while thumb and index fingers punctuate.
The thumb cannot be used as a pivot while playing it. After a single execution the muscles are painful, because we are not accustomed to producing legato with only fingers 3, 4, and 5.
Is there a hand position that can help? I have heard that Asians have a different hand morphology that can help them for that piece, is this true?
Link: score (Public Domain) on IMSLP.
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I learned solfège as a kid long ago, and have been playing ever since without interruption, but I seem to have forgotten quite a few things that I haven't really needed all those years, and might not be aware of many other interesting things since I haven't studied at the conservatory.
Is there any comprehensive book on music theory that you could recommend? (References in French are fine too.) I would be mostly interested in modes, scales, "musical patterns" and the relations between them, as well as their uses in various kinds of music. Please recommend only books you've had experience with, and explain how they cover the topics I mention.
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As a long-time chorister, I've always wondered what drives choirs to flat or sharp out of certain keys. For instance, the choir I sing with consistently fails to remain in the key of F, whereas shifting the music to F# fixes our tonality issues instantly.
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Are Dalcrose Eurhythmics concepts appropriate for newly beginning instrumentalists or do they rely on instrumental techniques that are only acquired later? If they are appropriate, what are some of the benefits that have been said to come from beginning Eurhythmics at an early stage?
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I'm looking to learn how to better analyze music I am listening to, and I'm having problems identifying ii-V-I progressions, especially when they're the basis for improvisation. What are some hints or signs I can look for in the music to help me identify the progression?
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Possible Duplicate:
Software that slows down music to help in transcribing.
I'm looking to study specific soloes and improvisations from recordings of live performances - my ear, however, is not very well trained and I don't have perfect pitch. What tools can I use that will help me better analyze the music (possibly by splitting out instruments or tracks from an existing recording, or automatically identifying chord progressions and changes, or any other help)?
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We're experimenting as a Brass-Brass-Bass combo, and wondering what we can do to make the bass's job more interesting (besides throwing in more solos). Is it fairly easy to replace substantial portions with improvised walking-bass style lines and still retain the percussive properties of the bass sound?
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When I do finger exercises (e.g. Hanon's), my pinky finger is being raised after I play (press and release) a key with my fourth finger, and then is raised even more and is striated after the third finger plays a key. I try to fight it, in order to preserve a nice curvature of the hand. However, does every piano player have a problem with this, and is this problem able to be overcome?
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My bassoon teacher advises me to soak my reed in water before playing. Apparently water has properties that my saliva alone doesn't. Why would this be useful?
Also I have seen Oboe players doing this, but not Clarinettists, Saxophonists (or anyone else without a double reed). Why don't they do so?
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I know about true or false harmonics tones on various instruments but I do not understand what an altissimo is. Just very high notes? Can you produce them on every kind of saxophone? Can you play a melody with them?
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What are the steps to follow to unmount the hair from a bow and install a new set ?
What kind of tools and products do you need beside a new set of bow hair ?
How do you measure/adjust the length before mounting ?
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How would someone go about identifying chords quickly and efficiently? While sight reading, I would often come up to some strange chord and try to decipher it. It normally takes me (what feels like) ages to figure out what chord it is. I have seen other people look at complex chords and instantly identify it.
What is the most efficient way to teach myself good chord recognition techniques?
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(a very good musicology question suggested by BenV, from the definition phase of the "Classical Music" area51 proposal).
Beethoven's ninth Symphony (opus 125) is one of the most well-known works of classical music. His last movement uses a choir together with the orchestra.
It is usually considered the first "choral" symphony. Are there no other examples or forerunners of this idea before 1824?
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Specifically for music composed earlier than the third or fourth century A.D.
I have heard several reports about deciphering examples of ancient greek musical notation. And you can find CDs of "reconstituted" ancient music although I never had an opportunity to hear one.
Have we been able to reconstruct ancient instruments of these times?
Do we know if some melody we still play come from ancient greek or roman folklore?
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Recently I played my acoustic guitar after a couple months of only playing my classical guitar. My fingers have softened considerably compared to when I was playing the acoustic regularly, and it was painful for the tips of my fingers on my left (chording) hand.
Is there anything I can do to permanently toughen up my fingers? If not, is there any other way to keep them tough besides playing regularly? Are there things I should avoid doing that can weaken or damage my calluses?
I'm particularly interested in first-hand experience; if you propose a method, how did it help you and what was the timeframe of your results?
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On Sunday I am going to take a entry level exam in music theory. They didn't give me any sample exam or references to where can I learn this stuff. All I have is a list of what will be in the exam (Translated from Hebrew):
Written Theory exam:
Scales - building and identifying the major and minor (natural,harmonic,melodic) scales.
Modes - building and identifying the different modes: Dorian, Phrygian, Lydian, Mixolydian, Locrian
Intervals - building and identifying intervals on every note.
Triads and their inversions - building and identifying Triads and their inversions (Major, Minor, Augmented, Diminished)
Seventh chords and their inversions - building and identifying the following seventh chords and their inversions:Major seventh, Minor seventh, Dominant seventh, Diminished seventh, Half-diminished seventh, Minor major seventh, Augmented major seventh
Transposition
Continuing a given melody
Knowledge rhythmic values
To harmonize a given soprano and bass using standard degrees and chords
To analyze a given musical piece excerpt (for example, a Bach chorale)
Sections 1-5 and 8 I know how to learn to, 6 I think I do, but I have no clue how to learn for sections 7,9 and 10. Where can I learn this things?
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A standard snare drum rim shot, as I understand it, requires the stick to contact the drum head and rim simultaneously. I'm having trouble finding the appropriate angle (the majority of the time I just end up hitting the rim only).
Are there any tips I might want to consider in developing this technique?
Edit: One thing I am curious about is if the stick stroke is supposed to be any different from a regular articulation. The regular pivot point is beneath the grip, so for a rim shot we have to add a pivot point farther up the arm. Does this additional pivot point replace the first one (keeping the wrists static) or just supplement it?
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As a composer, it's vitally important that I'm aware of what's happening in the contemporary music world. I find it very difficult to keep myself informed of a field that often flies below the radar of popular culture.
Are there any resources for keeping up-to-date on new art music, especially those that are validated by the academic community?
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I need advices to play between B♭1 and B♭2 on bass trombone with two valves.
I come from tenor trombone (only one valve) and already have position chart. What I would like is how to efficiently move using slide and valves. For know I have the feeling to play superbone with a clumsy left hand.
Do you have any advices?
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I am playing some works by Olivier Messiaen. Some of them are “extremely slow, extatic”, or “infinitely slow”.
Examples:
“Louange à l’Éternité de Jésus” (Quatuor pour la fin du temps), cello and piano.
“Regard du père” (20 regards sur l’Enfant Jésus), piano solo
I find it very difficult to keep a very slow tempo and find myself improving the speed while playing even when I concentrate on that topic. Do you have the same problem, and how do you cope with it?
Thank you for answers!
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I'm studying a string quartet by Haydn. This (obviously) doesn't have a basso continuo.
Why were basso continuos no longer used in the classical period? Was it something to do with the development of available instruments?
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My guitar instructor insists that, as part of my training, I set a fixed minimum amount of time each day for practice and make sure that I practice at least that much, with a fixed upper limit of 4x45 minute practice sessions.
Would you at all track mental practice, and, if so, would you include it as part of a general measure of how much you've been practicing each day, or separately from sessions with your instrument?
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Another question about playing octaves (as in Schubert's Erlkonig, Chopin's A-flat Polonaise, etc.):
I practice Hanon exercises, and Hanon recommends using the first and fifth finger on white keys and the first and fourth finger on black keys, so that's how I've always practiced them. But have you found that this is always the best?
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col legno or col legno battuto meaning : strike (the string) with the wood (of the bow) is commonly found in 20th century chamber music. But I have heard it might have been used earlier (at least 18th century).
I am curious about which early composers used this technique in his works.
Perhaps is there a first one?
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I have a nephew, eleven years old, who wants to start learning the flute next september.
I have seen that there are flute models with two central round keys either inline with the others or slightly offset towards the small fingers of the left hand if I understand well.
He does not have large hands for his age but it is difficult to tell how they will grow.
Is it a good idea to start with such an offset-G flute when young and then switch to an inline one in a few years when he will be larger?
Can he keep using an offset-G flute for all his life if he persists in playing the flute?
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I did a music exam today.
one of the questions was build chord from the following shapes (with the root given on the staff):
mM2
AugM7
dimdim 6/5
Mm6
what is the algorithm behind this markings. I am especially perplexed form dimdim 6/5.
EDIT: I think I Added unnecessary confusion: by 6/5 i meant 6 over 5 (First inversion of seventh-chord). I just now realised the other meanings sorry for that:(
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My right hand (picking hand) is showing signs of carpal tunnel syndrome, and is slowly, but surely, degrading. I continue to practice guitar, but it's beginning to be difficult to do so.
What can I do to reduce any (additional) damage to my wrist while practicing guitar, and to make my wrist last as long as possible in practice without pain?
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Do you know of any software out there that will allow me to play in different musical temperaments (e.g. Well temperament and Meantone temperament)? I'm especially interested in software that accepts MIDI input.
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Different brands of mouthpiece manufacturers have different ways of naming the size of their mouthpieces. Is there some kind of common convention, like letters being the depth, small numbers meaning small width, and the like?
Bach's 1-1/2 C seems to match Yamaha's 16C4 according to this page, but I'm more looking for a way of comparing without looking up in a table.
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I took ballet and with ballet you gain something called muscle memory and if you learn incorrectly, it's almost impossible to become a great dancer. Because of this, you can't learn ballet out of a book or from a video -- you need an instructor to say "You're doing a great job" or "You need to do this instead."
Is learning an instrument online a bad idea because of the above reason or any other reason?
I would like to learn the flute, but I live pretty much in the middle of nowhere. I see that there are plenty of learn flute online courses, but I'm wondering if anyone has had any success with learning an instrument over the Internet, out of a book, from videos, etc? I'm not talking about people who see an instructor and then go home and practice out of a book, but rather those who never have the help of an instructor.
Edit: By "online", I mean courses in which I'm not interacting with an instructor.
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My piano is nearly 100 years old, and can no longer stay in tune. Repairing it would cost much more than the piano is worth, and I'm not ready to spring for a new one just yet. So for now I am stuck playing it. It's somewhat in tune with itself — within an octave is usually OK, spread two octaves and you'll notice a problem — but it's somewhere around 2.5 semitones lower than it should be.
I know that opera singers, for example, can damage their voices by singing out of tune. Is anything similar for the ear? Specifically, will constantly listening to this off-key piano as I play it harm my ability to recognize notes in tune or to play by ear? Is it long-term or can I easily recover? And what evidence is there to support this?
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Sometimes when I am not at practice, I will visualize playing scales or a particular piece on my instrument.
I know that visualization is often used by athletes, but is it often used among musicians? If so, is there advice on how it can be done most effectively?
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I am studying Music at AS-level - we have to harmonise a soprano line (in any style we wish I believe) with the alto, tenor and bass parts.
One possible perfect cadence I have been taught is the Ic-V-I progression. However I found the following graphic on a revision site. The two rules below it (about the bass being doubled, and the octave leap) are not things I have been taught. Are they true?
(It's possible that you would follow these rules if you wanted to be in a certain style, but doing so is not necessary for the exam I'm taking.)
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I would like to know if there are any tips on tuning drumheads; I keep hearing harmonics.
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In terms of 'spring-cleaning' and maintaining guitars, and asking with regards to those of the acoustic variety, just to specify, however not to eliminate any differences should anyone care to explain:
Is there a standard efficient method of cleaning / maintaining a guitar?
A broad topic this might be, but I'm wondering what is essential. For instance, Machine head lubrication is one thing, but should they ever be completely removed to oiled inside? How often should any essentials be carried out to prevent (or slow down (significantly)) degradation of the instrument?
I can see where one could make a lot of mistakes and there are a bunch of results for 'cleaning a guitar' on the web, so subduing my credulity and given the nature of this site I've chosen to ask here in order to hopefully get an authoritative answer for myself and others.
Also being well aware that the regularity of day-to-day maintenance will vary considerably from one person to another, I wouldn't like to broach that; though, some here may provide insight into some things that should be carried out before crossing a threshold that I'm oblivious to at the moment, what I would like to know is:
Should the tension on the strings be lessened periodically? Not for the sake of the strings, but rather to give the wood of the neck a little relief - and not for too long either, as I could see that causing potentially worse problems. But obviously I don't know enough and I'm curious.
Other than pipe cleaners (which I find handy), is there a widely adopted tool to dust beneath the strings? Even with regular use I find dust particularly accumulates here.
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I have a bunch of guitars of varying quality from unplayable to quite nice. I intend to hang some (or all) of them on walls for decoration, but I'm not sure if this is good for the guitars, so perhaps I should do something else with the better ones?
I assume that lying down in a hard case will be the best, but that takes space, and also means the guitars aren't easily accessible for use (or making the apartment look nice).
Are guitar stands better or worse than all hanging? Are there other things to think about? What are the general guidelines when storing a collectors, very nice guitar (special woods, etc.), or one you value greatly? You will find humidity control systems in place at stores with "acoustic guitar rooms" for example. Is is good to store a guitar in a case for very long? Should some sort of moisture control be added to any case that is intended to sit for very long or be in a less than ideal environment?
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I played bass trombone at a pretty advanced level for many years. However, due to personal reasons I gave it up (I quit cold turkey). That was 15 years ago. I would like to get back into playing again, but I'm not sure of the best way to get my chops back without damaging them. I still have a ton of muscle memory, but obviously no endurance. Does anyone have any suggestions?
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Almost every teacher, expert, and book has informed me that I should disassemble my (clarinet / recorder / saxophone) each time after I practice.
However, it is difficult for me to see how this would prevent damage to the instrument, after I regularly grease the cork in the fittings, swab out the moisture, and remove the reed.
On the other hand, although it may seem trivial, I am much more likely to practice if my instrument is assembled than if it is in the case.
What is the basis for the advice that an instrument should be disassembled?
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I'm a classically trained pianist. Took lessons all through my childhood. I've continued to play and read classical literature all my life. But I never learned anything about jazz piano. I also know a lot about music theory, am a good sight reader and have a good ear.
At this point in my life (>40) what's the best approach to try to learn to play jazz piano music? This could include improvisation, but looking for some tips on how to get started. And some things I can do on my own.
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I saw once the case of a beginner violinist who turned out to be allergic to a specific type of rosin that came with his student violin outfit. Another hypoallergenic rosin was purchased and they used water to try to remove the old rosin from the bow. Let's just say the bow hairs were completely damaged afterward.
Is there a proper way to proceed in this type of situation, or is there no other choice but to just go ahead and get the bow rehaired?
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