News from DRL47

  1. It is a blues scale with an added flat 2. Phrygian blues?

  2. I bar of 7/4 should be considered as if it were a bar of 4/4 and 3/4 with all of the requisite “backbeats“.

  3. Thanks for clarifying! I like folk rhythms a lot so will look into 3/8 :)

  4. Look at classical scherzos for 3/8.

  5. Your question has been answered, but why is there a 3/4 time signature in the last measure? That is not in 3/4, it just has three beats because of the one-beat pickup at the beginning. Where is this from?

  6. I'ts when the tertiary dominant doesn't 'give up' it's lowered seventh as to make sure the tonic doesnt 'let down' it's octave into the major 7th. Basically everything is a I chord.

  7. I'm guessing you didn't listen to the link.

  8. Your question seems to assume that treble is the "regular" clef and bass was added to extend the range. This is not true. Treble and bass clefs (and others) are all "regular" and notate a specific range,

  9. How does having a root make the voicing "rootless"?

  10. The voicing is rootless. The other hand may or may not play the root (I often do not)

  11. "Voicing" includes all of the notes. What hand is playing what doesn't enter into the nomenclature. You could say that your right hand is rootless, but the chord isn't.

  12. I thought that natural sounds are always sine waves and follow the harmonic series, but imperfections disrupt this. Like how any real instrument would have some level of inharmonic sound, but on drums in particular, I guess the shape causes tons of inharmonic sound. Do you mean you tune to the little bit left?

  13. There are no natural sounds that are sine waves. Flutes and some bird calls come closest.

  14. Root being the first note in a scale yes?

  15. No. Chords have roots. Scales have tonics.

  16. Chords have roots. Scales have tonics.

  17. m7b5 is just a kind of roundabout way of saying ø7. Dø7 is D F Ab C, a half-diminished 7th chord on D. But for some reason, the world of pop chord symbols opted for calling this Dm7b5 instead. They could well have done Dø7. Maybe they decided that symbol was too obscure or hard to print or something.

  18. Yes… the triad is major by default and the 7 is minor by default, so C7 is a major triad CEG with a minor 7 Bb

  19. I have seen notation where the leading tone in a minor key is shown, causing there to be both sharps and flats in a key. A good example is G minor. Gminor has two flats (B and E) and the leading tone, or raised 7 is F#. Certain composers chose to write that in the key signature, but it’s more common to see all instances of F# treated as an accidental.

  20. I have only encountered it a few times. One was in a piece by tuba extraordinaire Roland Szentpali (Visions). I have been told that Bartok did this a few times but I can’t attest to that

  21. Bartok did use unstandard key signatures, but I don't know about harmonic minor.

  22. If it is a bII7 chord, it could be a tritone sub leading to the I.

  23. It's not very musically complex, you just can't end up with too musically complex stuff on electric guitar.

  24. IMO, 7/8+6/8, if you are expecting human musicians to read it.

  25. You can play in C major and include a sharp 4, yes. That would be "borrowing" from Lydian. You can do the same thing with all of the modes. I recommend you watch some YouTube videos about "mode mixture".

  26. What is the song? There isn't much to go on. I presume the G is the one chord and since there is a C# in the second and third chord which would be a raised fourth thus, G Lydian. A lot of songs use elements of modes but do not slavishly adhere to the limitations of the modal properties.

  27. Double sharps and double flats are fine and should be used where appropriate. It would be incorrect and confusing to spell an A# major scale as A# B# D D# E# G A (or sometimes you'll even see A# C D D# F G A, which is even worse).

  28. The two flats was correct, but I got the sharps wrong. 10 sharps.

  29. Enharmonic key signatures always add up to 12.

  30. By “doesn’t enter into anything”, you mean that it shouldn’t affect the chord naming?

  31. "Inversion" only refers to the bass note and is not ambiguous. Whether you do or don't play the low A in D/F# doesn't affect the inversion. Chord notation tells you nothing about the upper voices whether it's an inversion or not.

  32. It is too bad when civility and manners are the exception, no matter what you are talking about.

  33. My mom constantly said "if you can't say anything nice, don't say anything at all." My dad was more to the point: "just don't be an asshole". Seriously, do we need to start teaching this in schools?

  34. It is already being taught in any good school or classroom. It needs to start being taught at home (in homes where it isn't already).

  35. The Overture from "Tommy" The beginning of "Sinfonia" for concert band.

  36. Learn music, both songs and instrumental pieces.

  37. On piano? The 4th finger only occurs once in a scale. Memorize which note the 4th finger plays in every scale. Everything else follows logically from that.

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