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Music Theory Q/A

Started by JDMEK5, September 12, 2012, 01:32:57 PM

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JDMEK5

I couldn't help but notice how many theory related questions we've gotten lately, so I thought, "Why not make a thread for stuff like that?".

So here it is. If you have any questions about key signatures, time signatures, clefs, voicing, etc.; here's where you ask.

The IMSLP/Petrucci Music Library is a great place to explore some things discussed here.

If someone else who has an idea for a topic and knows about it can put one together themselves if I haven't gotten to it already.
If you make your own, I ask that you include a wikipedia link somewhere inside. (If possible, at least)

Topics:
Rhythm Groupings by JDMEK5
Time Signatures by JDMEK5
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

Mashi

so does that mean that i could post my homework here so that you could all do it for me
just a warning, im going to be posting here a lot

So anyway, I have a question about beaming.  Let's say that one is given an E, B, and E triplet.  How far should the stems to?  In this case, it's Treble Clef, the E's are both high and the B is in the middle; should I extend them all to the length of the B's stem or the E's stem?  Sorry if I was unclear.  It's not really important, probably, but just curious.

JDMEK5

#2
Quote from: Mashi on September 12, 2012, 01:52:40 PMso does that mean that i could post my homework here so that you could all do it for me
That wasn't exactly the point of this whole thing...
It was actually intended for stuff like ... this.
You get a point for curiosity though.

Quote from: Mashi on September 12, 2012, 01:52:40 PMLet's say that one is given an E, B, and E triplet.  How far should the stems to?  In this case, it's Treble Clef, the E's are both high and the B is in the middle; should I extend them all to the length of the B's stem or the E's stem?  Sorry if I was unclear.  It's not really important, probably, but just curious.
The stem of the note should go up if the note is lower than the middle line. It goes down if it is on the middle line or higher.
Traditionally, the stem goes exactly an octave above/below the note (depending on where the note is).

Note how the end of the stem is exactly on the high E. Exactly one octave above the played note.

Going back to your triplet; since the first note is exactly the same as the last, the bar goes straight across horizontally.
No stem is ever cut down; only extended. So if the E is higher than the B, the stem of the E would extend to match the B.


Does that satisfy your question?
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

Mashi


Zunawe

Posting because want learn.
You know you've been playing too much Dragon Quest when you're afraid your Hershey's Kisses are going to flee.

I program things

MaestroUGC

Posting to offer my understanding of the subject as laid before me by my Masters of Western Music.
Try to do everything; you're bound to succeed with at least one.

JDMEK5

#6
Quote from: MaestroUGC on September 12, 2012, 03:15:20 PMPosting to offer my understanding of the subject as laid before me by my Masters of Western Music.
Glad to accept the help.

Alright. So every so often, I'm going to put together a little topic and make a list containing all the topics so far.

If someone else who has an idea for a topic and knows about it can put one together themselves at that point. (Guidelines for doing so are on the original post)

So the first topic will be on a recent question:


The timing for a 4/4 time is: "1-and-2-and-3-and-4-and"
(Each number is worth a quarter note; the "ands" represent subdivision)
The pulse for a 4/4 time is: "Strong-and-Weak-and-Medium-and-Weak-and"

Rules:
1) A strong beat can stand for any number of medium and/or weak beats. (Within that measure)
(E.g., a whole note)

2) A medium can stand for any number of weak beats but not strong beats.
(E.g., a half note on beat 3)

3) A weak beat can't stand for anything besides itself. (Not even another weak)
(E.g., a quarter note on beats 2 and/or 4)

4) Off-beats can always be represented by the beat to the left and can't stand for anything besides themselves.

If you want a half note on beat 2, you need to tie two quarter notes. Because, if not, you'd have a weak beat standing for a medium.

The top staff is an example of correct notation, while the bottom is an example of incorrect notation.

"Ands" cannot stand for anything besides themselves. (Golden rule)

This isn't really that serious a topic; I've seen many sheets by professional arrangers write it incorrectly to make it cleaner.
(You can only go so far however)
But if you're taking an exam, you can't skip this. It really helps more when you're in a hybrid time.
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

Mashi

I need to learn to transpose (not sure if this is the correct word) rhythmic notations for a test tomorrow.  Are there any strategies or sites or anything that anyone has that I may use?

JDMEK5

You mean transpose for different instruments? Like a trumpet in Bb for example?
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

MaestroUGC

I think he means transcribe. Transposition deals will pitch, whereas transcription deals with the written music, presentation, under which rhythmic notation falls under.
Try to do everything; you're bound to succeed with at least one.

Mashi

i am music expert

Yes, I meant transcribe, my mistake!

JDMEK5

Oh. I don't suppose what you mean I dealt with earlier? You know, that "Rhythm Grouping" section?
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

MaestroUGC

This thread is all about how music works, and this is important for understanding this ancient art known as Music.

Here we look at how it all works in action. We won't be focusing so much on the theory itself, but we will be looking at pieces that both defined these ideas and tropes, as well as those that broke these rules that you all are so keen to learn.

We look at the history behind it all, discovering where these ideas originated from and how they shaped Western Music into the forms we all know and love today.

I just took a look at the history of the Symphony, which is one of Western Music's Supreme forms, and we are looking at the 9 Beethoven Symphonies right now.
Try to do everything; you're bound to succeed with at least one.

Mashi

Quote from: JDMEK5 on September 13, 2012, 08:06:14 PMOh. I don't suppose what you mean I dealt with earlier? You know, that "Rhythm Grouping" section?
Not exactly.  I mean, being able to hear a rhythm and right it down.  I know the manner in which the notes should be connected, grouped, beamed, and the like, but I have trouble determining length quickly enough when a musical excerpt is played.

MaestroUGC

Practice, just practice.

Find some scores on imslp.org, listen to the music and try to dictate the rhythm and then compare. Do in groups of 4-8 bars and try music from all periods.
Try to do everything; you're bound to succeed with at least one.