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Type: Posts; User: ttw

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  1. Replies
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    The meanings of the symbols do change depending...

    The meanings of the symbols do change depending on the genre. In a CPP (classical) analysis, A2 would mean an A7 chord with the 7th in the bass: G-A-C#-E (whether the last three can appear in any...
  2. Thanks, I'll try that site. The last stuff I...

    Thanks, I'll try that site.

    The last stuff I wrote is what I sent you at Sons of Sibelius a few months ago. (I just write as a hobby when not travelling.)
  3. I cannot seem to attach anything, neither pdf nor...

    I cannot seem to attach anything, neither pdf nor mp3. I'll try later.
  4. I think of things slightly differently, but some...

    I think of things slightly differently, but some of my observations may apply. I tend to think of theory from a more "classical" or "common practice period" viewpoint. However, the general ideas...
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    That somewhat depends on the particular piece. If...

    That somewhat depends on the particular piece. If you are playing a popular piece and there is another instrument playing a real bass line, there's no difference. If you are playing a classical style...
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    I disagree with the premise of the original post....

    I disagree with the premise of the original post. I find that jazz harmonic ideas far more restrictive than "classical" harmonic styles; perhaps because jazz has about a 120 year history and...
  7. Replies
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    A quick way to look at these from a classical POV...

    A quick way to look at these from a classical POV (rather than jazz) is that the augmented sixth chords a pre-dominant chord with the augmented sixth expanding out to an octave. A common use of this...
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    There is a name for the change from E-G-B to...

    There is a name for the change from E-G-B to E-G-C which does change the chord from E minor to C major (and similarly the change from C-E-G to C-E-A and the like). It's termed the 5-6 technique and...
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    Note that 4/4 may actually represent many...

    Note that 4/4 may actually represent many different rhythm patterns. Trivial examples are accent patterns (in eighth notes normally) 2-2-2-2 or 3-3-2 or even 3-2-3. (3-3-2 is especially popular in...
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    Welcome to the site. I was just in Tenerife last...

    Welcome to the site. I was just in Tenerife last Sunday (Sept 24) for a half day. It's one of my favorite places to visit. I hope you will get something from this website.
  11. Bar lines signal, to a large extent, something...

    Bar lines signal, to a large extent, something new. New accents occur; old accidentals no longer apply, etc. A tie recognize this explicitly. Generally engraving practice doe not have notes crossing...
  12. Replies
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    Modify the first measure so that the LH slur...

    Modify the first measure so that the LH slur joins the low A to the half note. It's more usual to have a slur into tied note end at the last note in the group of tied notes.

    Using quarter note...
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    I think the first measure is easier to read. You...

    I think the first measure is easier to read. You are just adding a fourth voice on the last beat so you may want a half-rest preceding the quarter rest at the top of the treble clef. Else you could...
  14. Replies
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    Things tend to be rather involved. In classical...

    Things tend to be rather involved. In classical music theory, any note may go with any chord. Of course not all such notes are equivalent. Also, several notes may go with a single chord or several...
  15. The usual method of naming a seventh chord is to...

    The usual method of naming a seventh chord is to name the quality of the third then the quality of the seventh. Thus a major-minor chord is the usual dominant seventh chord formation, in the key of...
  16. Some. Bob Wills Ernset Tubb Flaco Jemenez...

    Some.

    Bob Wills
    Ernset Tubb
    Flaco Jemenez
    Olga Stokowksi
    Van Cliburn
    Ray Price
    Willy Nelson
    Johnny Rodriguez
  17. Another possibility is to end the piece by...

    Another possibility is to end the piece by breaking the loop. Instead of following the C chord with a G6/B, insert a Dm7 followed by a G7 followed by a C. This would clearly fix the piece as in C....
  18. Replies
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    The F is just a subdominant. The D7 is a...

    The F is just a subdominant. The D7 is a secondary dominant and more or less is bound to the following G7 by that relationship. Overall the structure here is S-D-T (subdominant-dominant-tonic). The...
  19. What happens is up to the performer. The two...

    What happens is up to the performer. The two choices you gave, either quarter=quarter, or quarter=dotted_quarter are possible. The composer (or arranger) should provide information.

    If nothing is...
  20. Replies
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    I am not sure there is a standard notation. What...

    I am not sure there is a standard notation. What about a note (say a half note or whole note to allow the swell time to develop) with a crescendo mark on it? That's how I'd do it on a wind or bowed...
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    It's just a name. A very old name. One could use...

    It's just a name. A very old name. One could use numbers just as well, especially Roman numerals.
    Subdominant is just below the dominant. Mediant is halfway from the tonic to dominant; submediant is...
  22. Replies
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    It depends on how things proceed. It could be...

    It depends on how things proceed. It could be iii,vi,ii in C major ii,v,I in d minor. To make it a i,vii,iv sequence, the i must be confirmed as the tonic somehow. Perhaps somewhere in the piece a B...
  23. The book is "Harmony Simplified" by Frank...

    The book is "Harmony Simplified" by Frank Shepard. Perhaps: https://archive.org/details/imslp-simplified-shepard-frank-hartson

    There are some good web sites, too.
  24. Root position refers to the vertical disposition...

    Root position refers to the vertical disposition of notes such that the root of the chord is in the bass. For example, a C major chord in root position (3-part harmony) is either C-E-G or C-G-E....
  25. You can connect close to open and vice versa.

    You can connect close to open and vice versa.
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