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alexfabbri

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[ { "sents": [ { "text": "These days you really don't need a program, entire training courses are available for free on Youtube.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The general advice given here, though, is that even if you wish to learn entirely on your own, you should still aim to have a few one-to-one sessions with an instructor as they can spot mistakes you may not be able to identify from a video.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will find a lot of the info you require tagged guitar and learning - here , such as this one on learning your way round the fretboard , or this one on software which will listen to you .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 9 } }, { "sents": [ { "text": "Start here: http://www.justinguitar.com/", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Or here if you figure \"free\" isn't a necessity: http://www.learnandmaster.com/guitar/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've used both (mainly the latter) and they worked for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's been three years since I started and I can play a lot of songs now", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I know the theory to go with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/790/MdaG", "score": 5 } }, { "sents": [ { "text": "I would just start out with tab, that is how I started out.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "I have hundreds of guitar pro / other files saved on my computer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you actually have enough interest in guitar, then you can start working into basic chord theory and stuff like that (major and minor triads, etc)..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's how I have been doing it, and after three years of playing guitar it enabled me to join a jazz band, where I am playing chords that I had no idea existed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1153/cutrightjm", "score": 2 } }, { "sents": [ { "text": "Starting with a beginner's book is a great idea.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "This can teach you many of the super basics that you would get from an in-person teacher, like the hand technique to shoot for, parts of the guitar and some basic musical theory that's helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having patience with yourself is a key quality when you're first starting out— and that's one of the big advantages of having a live teacher, they can talk you through problems that you may not even see.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Building up the physical skill to make the chord shapes with your hand and hold down the strings properly is not easy at first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I remember being SO frustrated trying to make the same chord shape and strumming to hear a lot of buzzing and barely-notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anything you can do to keep it fun and interesting is good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Talk to other guitar players.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Find the tabs to a song you really like and learn it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Hearing yourself play the first few parts of a song you love is so worth it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that building your skills is great, but no matter where your skill is you can still make a song that communicates something.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I like to reference the advice from David Fair in his article How To Play Guitar :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can learn the names of notes and how to make chords that other people use, but that’s pretty limiting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even if you took a few years and learned all the chords you’d still have a limited number of options.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you ignore the chords your options are infinite and you can master guitar playing in one day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2031/TSchafer", "score": 2 } }, { "sents": [ { "text": "Buy a \"How to play guitar\" book.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In the scheme of what you'll spend on guitars and accessories, $20 on a book is a great investment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't want to recommend any particular book, because different people have different ambitions and learning styles.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to shred heavy metal solos, you'll buy a different book to if you want to strum folk ballads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Browse in a bookshop or music shop, and pick one that appears to suit you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could also start with a library book.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any good book will start by showing you how to hold the instrument properly, then move on to well graded exercises and tunes to play.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If you can afford a few lessons, it's money well spent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Failing that, it's great to have a friend or family member to mentor you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you're able to strum a few chords, also get a songbook -- one with songs you know and love, with lyrics and chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This might seem like a waste of money, when you can find guitar chords on the Internet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it's useful to have them on paper, and the tabs and chords on the internet are very often not quite right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then you can split your time between technique (from the \"how to\" book), and repertoire (from the songbook etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As soon as you think you can play to an audience, do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a great incentive to keep learning and improving.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 1 } }, { "sents": [ { "text": "i think it depends what you want: if you want to learn proper technique (ie hand position, music theory, etc)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you must look for a good school or mentor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and learn the sagreras book (for example) like a bible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i dont think this can be selftaught or if you just want to learn some songs to impress girls :P (no classical overcomplicated stuff)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "what worked for me was practice, practice, practice and the way i found it most rewarding and entertaining was learning to read tabs", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(it takes a few minutes), practicing barre chords(so daunting at first) and then trying to learn my favorite songs, most of them will be too hard at first, its ok, just choose the passages you can play until you can play along with a record.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you may want to check the site songsterr.com", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i could spend literally hours there practice, practice, have fun!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1734/jambriz", "score": 1 } } ]

{ "question": "I didn't see any post of where I can find a site that have good program for free to learn how to play a guitar. i have seen only those: How do I choose my first guitar for self-learning? How to learn to play guitar with a slide? both links treats to how pick your first guitar but none says how you can learn yourself play it.", "title": "How to start self learning to play guitar?", "forum": "music.stackexchange.com", "question_tags": "<guitar><learning>", "link": "music.stackexchange.com/questions/5474", "author": "music.stackexchange.com/users/1968/0x90" }

[ [ "To learn to play the guitar these days you really don't need a program, entire training courses are available for free on Youtube. You can start here: http://www.justinguitar.com/. An alternative is a good book, use a beginners book at first. Moreover, it is possible to just start by learning the tab for a favorite song.", "When trying to start teaching yourself guitar, there are a number of different things that can help. Firstly, a good beginner's book will be helpful in the beginning. Then, there are a number of courses and tutorials on sites like justinguitar.com or Youtube. Using online tabs and talking to other guitar players are also worthwhile." ] ]

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[ [ "There are number of free courses available online on places such as justinguitar.com or YouTube.", "A beginner's book might be a good way to get started.", "Find the tabs online to songs that you really like and try learning to play them.", "Talking to other guitar players can be really useful when starting out." ] ]

[ { "sents": [ { "text": "Go for a walk.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Count each step, in twos or fours.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tread heavier on the ones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One two One two One two One two One two three four One two three four", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They feel different, don't they?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And yet there is an equivalence between them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Walk at the same tempo, but count to four twice as fast, so you're stepping on the One and the three.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(two) three (four)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This feels like the 2/4 rhythm again, except for the in-between-steps counting you're doing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This sort of equivalence comes up all the time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In environments where musicians play without sheet music, it's quite possible that the drummer thinks he's playing in 4/4 (with triplets), while the guitarist thinks he's playing in 12/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this example, what the drummer calls a triplet, is three 8th notes for the guitarist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When a composer scores their music, they choose the time signature that they believe conveys the feeling most clearly to the musicians, while being easy to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2/4 with 4 quavers to the bar at a slow tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4/4 with 4 crotchets to the bar at double the tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-- that's mostly a readability choice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 49 } }, { "sents": [ { "text": "The other answers are all essentially correct, but I think a critical point is missing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There aren't just fully \"strong\" and fully \"weak\" beats; there are also beats of medium strength (and other varieties).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4/4 is most commonly emphasized like this: ONE two three four Note the half-accent on the third beat, different from what slim mentioned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're playing triplets, that works out to: ONE two", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "three four five six Slim was right in saying that 4/4 with tripletted quarters indistinguishable from 12/8 with normal quarters, but it's only true because of that emphasis on the third beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "12/8 is emphasized like so: ONE two", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "three four five six seven", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "eight nine ten eleven", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "twelve With quarters (combining pairs of eighths) that works out to: ONE two three four five six Which is exactly the same as the above 4/4 with triplets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now to get to your specific question:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2/4 has no medium beat, so four quarters would be most commonly emphasized like this: ONE two ONE two", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This emphasis gives a noticeably different feel to the music than 4/4 does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 23 } }, { "sents": [ { "text": "It also has to do with strong and weak beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 2/4, everyother beat (the one in each measure) is a strong down beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 4/4, every fourth beat (the one in each measure) is a strong down beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is all about accents and feel, so there is a major difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2034/Michael Thibodeau", "score": 7 } }, { "sents": [ { "text": "It's all about the feel in the music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes it really doesn't matter, and it is very difficult to say what is more natural.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But often you have distinguised beat at the first in each measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it is a march, you have the first beat on the right foot when marching to it, and it is natural to have a 2/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rock music often has a beat pattern that more or less repeats itself each 4 th beat, and thus it is more natural to have a 4/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/249/awe", "score": 3 } }, { "sents": [ { "text": "@MatthewRead's answer above hits the nail on the head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is another reason that 4/4 may be used instead of 2/4 and that's for the ease of reading the notes from the page.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "For example, in American Oldtime music there is a strong 2/4 feeling to it, but it's easier to read if no note values are below an eighth note or a dotted eighth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the music is notated as four beats to the bar (measure) even though the music is played two beats to the bar:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "half-notes are notated as whole notes, eighth notes as quarter notes, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nowadays, 2/4 in traditional dance music is usually notated in 4/4, although older books often notate it \"correctly\" in 2/4 and if you can't handle a dotted sixteenth may God have mercy on your soul.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10635/pro", "score": 2 } }, { "sents": [ { "text": "Sorry, but \"one-two, one-two\" would be the way I would count 2 bars of 2/2 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I count 2/4 time as \"ONE-and-TWO-and\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The beat is bouncy in motion and \"rocks\" back and forth from one count to the next.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It creates a firm downbeat and backbeat .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I count 4/4 time as \"ONE-two-three-four\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The beat is circular in motion and \"rolls\" from one count to the next.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can play faster with 4/4 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A time signature is somewhat arbitrary...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "each player is free to express himself or herself in whatever time frame works best for him or her.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fiddlers often write out their music in 2/2 time (to reduce repetitive eighth note passages) but actually play in 2/4 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I teach beginner acoustic guitar and play bluegrass, most often expressed in 4/4 time -- and old time music, most often expressed in 2/4 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We play regularly in 2/4, 4/4, 3/4 and 6/8 times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7242/Susie Coleman", "score": 0 } }, { "sents": [ { "text": "The short answer:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The difference is whether it's intended that we emphasize 2 or 4 beats per measure, and this distinction is ultimately pretty arbitrary.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12205/Epanoui", "score": 0 } }, { "sents": [ { "text": "Many answers have given great explanations for the difference between 4/4 and 2/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's a practical example, so you can actually hear what it sounds like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The time signature change is very, very obvious: \"Pink Label\" by Laysha (YouTube link)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It abruptly switches from 4/4 to 2/4 at around timestamp 0:35, then switches back around 1:10.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same change happens again around 2:00.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even if you don't know anything about time signatures or rhythm, you should immediately recognize that the song sounds \"faster\" at the transition, though the tempo stays the same.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Changing which beats are accented can achieve this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18504/user3932000", "score": 0 } } ]

{ "question": "I cannot figure out the actual difference between these two beats. Isn't it sufficient to have only 2/4 (or 4/4 )?", "title": "Is there a difference between 2/4 and 4/4", "forum": "music.stackexchange.com", "question_tags": "<time-signatures><beats>", "link": "music.stackexchange.com/questions/5621", "author": "music.stackexchange.com/users/1391/DinushanM" }

[ [ "The difference is whether it's intended that we emphasize 2 or 4 beats per measure, and this distinction is ultimately pretty arbitrary. There is another reason that 4/4 may be used instead of 2/4 and that's for the ease of reading the notes from the page. However, sometimes it really doesn't matter, and it is very difficult to say what is more natural. ", "The difference between 4/4 and 2/4 may be fairly abritrary, but it may have an impact on the beats that are emphasised. Additionally, 4/4 may make the music easier to read than if it were written in 2/4." ] ]

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[ [ "The difference may be fairly arbitrary.", "Using 4/4 may make the music easier to read on the page.", "The difference between the two time signatures is in which beats are emphasised." ] ]

[ { "sents": [ { "text": "Minor Pentatonic scale $6 2 5 $5 2 4 $4 2 4 $3 2 4 $2 2 5 $1 2 5 $3 ...or: 2 4 / 6 $2 5 7 $1 5 7 / 9 Try a G chord with Ring- Middle- and a Pinky-barre.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "%3/3.2/2.0/0.0/0.3/4.3/4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, all of the CAGED shapes will work your pinky if you use the \"barre\" fingerings: don't use the index (1) at all and form the shape with middle (2), ring (3) and pinky (4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also the usual folksy chord embellishments will serve as exercise:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D-Dsus4-D, A-Asus4-A, G-Gadd9-G, C-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cadd9-C. And from any of these \"suspended\" notes, you can slide up with the pinky to the next chord tone, and re-form the chord in the new position (and/or inversion).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1344/luser droog", "score": 6 } }, { "sents": [ { "text": "If you're starting again after a long break, you might want to consider taking the opportunity of revising your technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was fortunate enough to be given classical guitar lessons at an early age, and the first thing I learnt was that the thumb goes on and behind the neck opposite the fingers, not sticking out this side with the neck cradled in the web between thumb and forefinger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was strange for a few weeks", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I could see immediately that it brings the fingers into a much better relationship with the fretboard, and makes using equally all four fingers simplicity itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I continued with it, including on 12-strings and electrics (and electric 12-strings) when in bands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At this period I noticed that few electric players did this, and that therefore few of them could use the pinky properly either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some asked me why my technique looked so simple, and this was basically the reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You lose the ability to cheat and use the thumb to complete the F chord on the bottom string, although actually you shouldn't be playing 6-string chords anyway ....", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that's another discussion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anyway the barre also becomes much easier with the thumb behind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9497/Marquis of Lorne", "score": 2 } }, { "sents": [ { "text": "although @luser covered pretty nice most of the techniques you could use to train your pinky, but i found that this wasn't enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "sometimes after you stretch and reach out for a far fret using your pinky, what's happening is that you are stretching the muscles and tendons of your pinky so the moment you want to use it again in a semi-relaxed position you'll find it difficult. to understand what i mean, i really encourage you to practice Money starting riff from Dark Side of The Moon - Pink Floyd .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "in this riff you are starting with your pinky on 4th fret of the G then stretching it to reach 5th on E and 5th on B. and after that there's a little break down where you'll have your pinky on 4th of the D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that's when you'll feel that you can't relax your pinky enough to fret the 4th of the D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2632/K''", "score": 1 } }, { "sents": [ { "text": "If you play E minor pentatonic as 9/4, 12/4, 10/5, 12/5, 10/6, 12/6 (first number is the fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Second number is the string.), everything on the 12th fret is done with the pinky, and that's half of the scale, so that would help with training your pinky.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12375/Nick of Music", "score": 1 } }, { "sents": [ { "text": "A John petrucci training exercise I used a while back helps a lot with finger", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "dexterityYou start off with a basic chord of :1234XXThen move your index up a fret and switch positions with the middle finger like so:2134XXThen", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you move up the whole 4 strings you are fretting with the indexWhen you're done", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you should have:4123XXThen", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you start moving your middle finger same patternGo through the last two fingers including the pinky to reach the first chord", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "again:1234XXThe idea is to keep all your fingers on the fret board except the ones that are being switchedIt will start off as being clumsy but then it will really strengthen your fingers and give you dexterity in all of the fingers and finger independenceIf", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you don't understand what I mean I'll make a more detailed answerThe pattern ends with the same starting chord so rinse and repeat", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12410/user3789596", "score": 1 } }, { "sents": [ { "text": "I find practising scales exercise the pinky quite a lot (with the \"correct\" fingering).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Plain old major scale up and down will do fine, but also try e.g. 1-3-5-2-4-6...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The numbers refer to scale degrees, so for an A major scale it would be A-C#-E-B-D-F#...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you e.g. start with your middle finger on the lower E string,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5th fret A, the pinky will be used on the E and the B and so forth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This can of course be varied infinitely with different scales and patterns.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another thing to try are power chords with an added 9th: %1/1.3/2.5/4.0/0.0/0.0/0", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think they sound pretty neat and are fun to play around with, something which is hard to say about scale exercises.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8682/Meaningful Username", "score": 0 } }, { "sents": [ { "text": "This guy's \"neoclassical\" lick is very easy to learn, but emphasizes using the pinky in a way I have found to be a great exercise for this, especially if you try it alternating between pinky and ring finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was very clumsy at first, but doing this regularly has helped my picking, and especially my pinkie strength and dexterity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10555/user10555", "score": 0 } } ]

{ "question": "I played guitar since age of 12, but haven't really played for the last 5 years and would like to start again. However, when I used to play I rarely used the pinky finger because I have big hands (not an excuse, but this is how it happened). Now that I almost forgot how to play after a long absence I thought, \"Why don't I start training the pinky from scratch?\" What are the best exercises/techniques to train the pinky?", "title": "How to improve/train pinky dexterity for guitar playing (after long absence)", "forum": "music.stackexchange.com", "question_tags": "<guitar><technique><exercises>", "link": "music.stackexchange.com/questions/6125", "author": "music.stackexchange.com/users/2319/ccot" }

[ [ "Practising scales excercises the pinky quite a lot if you use the correct fingering.", "Practising scales with correct fingering should be a good enough exercise to improve your pinky finger technique." ] ]

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[ [ "Practising scales with correct fingering should be a good enough exercise to improve your pinky finger technique." ] ]

[ { "sents": [ { "text": "OK.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I found a quick-and-dirty temporary solution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an online education forum suggested, a interesting school science experiment might be to see if adding weights and changing their position on a tuning fork will change the frequency of the fork.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I played science student, and tried the experiment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Two big rubber bands on the tines clearly lowered the frequency... by way too much.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Next I tried a couple strips of masking tape wrapped around the very end of the each tuning fork tine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That also lowered the frequency, by only a bit too much, to 20 cents flat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I removed those pieces of tape and carefully measured them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then I cut some tape strips about 9/29ths as long (actually a few mm longer).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wrapped the new lengths of tape on the fork tines, and the fork rang 3 cents flat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A little more fine trimming of the length of the tape with some sharp scissors, and I got the fork to measure within +-1 cent of 440 Hz, as measured against several calibrated iPhone tuners (both dial and strobe).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fork also now sounds good when played simultaneously with an mp3 of a 440 Hz tone to check for beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tone probably isn't as pure, and tape will eventually age and wear, but this quick fix should work well enough until my next trip to a good music store for a better quality tuning fork.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1489/hotpaw2", "score": 28 } }, { "sents": [ { "text": "You could tune it up if you have precision tools that can grind off just the right amount of metal from each tine (this would increase the frequency; to decrease the frequency you would need to add metal!) - but practically speaking that means no, you can't do it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Does it look damaged?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If not it is probably supposed to be a 442 tuning fork.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you need a 440 you'll need to just buy one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Update based on the comment that you had bought a 440 fork: Take it back to the shop, get them to check it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If their check shows it is a 442 then they can replace it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If they show it to be a 440 then maybe your tuners are out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 18 } }, { "sents": [ { "text": "It is defective.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Return it for a refund.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no practical way to recalibrate it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "The reason people purchase a tuning fork in the first place is to get something that is exactly calibrated already.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 9 } }, { "sents": [ { "text": "Interesting question!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No-one's mentioned temperature, so far.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm off to put one in the freezer and another in the oven!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll report back!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just got back from hospital with frostbite on one hand and burns to the other...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but surprisingly the tuning fork stayed in pitch!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My theory stemmed from the British Yard which lives in London.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is exactly a yard long at a given temperature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Longer tuning fork =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "lower note, shorter = higher, surely?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "As someone else stated, grinding off material from the end of the tines will increase the pitch.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, grinding material off at the base bend of the fork will lower the pitch: there the material contributes much more to the fork's stiffness than to its inertia.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it may well affect the purity of tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8773/User8773", "score": 4 } }, { "sents": [ { "text": "I had a cheap allegedly A440 fork that showed sharp on all tuners, and for reference, a better-quality fork showed exactly A. By filing a small amount from the outside of each tine near the join, and checking several times, it is now quite exact.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/71005/R. reed", "score": 2 } }, { "sents": [ { "text": "A bit of solder at the tip would lower the frequency.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "But to get both tines exactly right", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", that's tricky to do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1941/200_success", "score": 0 } } ]

{ "question": "I just purchased a new 440 Hz tuning fork. But several different computer, iPad and iPhone tuners say it's almost half a percent sharp (around 442) of Concert A. Is there any way to adjust the frequency of a tuning fork?", "title": "Tuning a tuning fork?", "forum": "music.stackexchange.com", "question_tags": "<tuning><frequency>", "link": "music.stackexchange.com/questions/6336", "author": "music.stackexchange.com/users/1489/hotpaw2" }

[ [ "It is practically impossible to re-tune a tuning fork.", "There is probably no practical way to recalibrate a tuning fork. However, if you are able to, grinding some metal off each tine will increase the pitch whilst adding some solder to the tips may decrease the pitch." ] ]

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[ [ "Grinding off some metal from each tine will increase the frequency of the fork.", "Adding some solder to the tip of each tine would lower the frequency of the fork.", "There is probably no practical way to recalibrate a tuning fork." ] ]

[ { "sents": [ { "text": "As a friend of mine once explained, \"It's like paint.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you mix together several colors of paint, you can't un-mix it and get the original separate colors of paint back.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Vocal removal software, as mentioned in other answers here, is only of limited usefulness due to laws of physics that cannot be circumvented.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All such products use the principle of applying phase cancellation to a 2-channel stereo recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is only possible to totally remove the lead vocal from a mixed recording using vocal removal software if the original recording is mixed under a precise combination of conditions: if the recording is 2-channel stereo, mixed with a wide stereo field, but the lead vocal is positioned exactly in the center, and there is no reverberation or echo applied to the lead vocal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Furthermore the process will always also remove any other instruments or musical elements that are also positioned in the exact center of the stereo field (where the bass instrument is usually positioned)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it is usually the case that removing the lead vocal also removes most of the bass instrument, the kick drum, and a great deal of bass frequencies at any point in the recording where the vocal removal effect is applied.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the recording from which you wish to remove the lead vocal was not mixed according to these exact conditions, then you will encounter only a partial reduction in the volume of the lead vocal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the lead vocal was processed with a stereo reverb effect, you might be able to remove the lead vocal but you will still hear the stereo reflections (echoes) of the lead vocal through the reverb effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Regardless, you will probably notice undesirable artifacts and changes in the frequency spectrum.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Furthermore, the process of vocal removal won't work at all with mono recordings or, to the best of my knowledge, 5.1 or other configurations of multi-channel surround sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 17 } }, { "sents": [ { "text": "I basically asked this question on the Audio site:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How can I cut out a particular instrument in the same pitch range as other instruments I don't want to cut?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you can see there, the answer is no.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no good way for software to tell what is voice", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and what is not for any arbitrary voice and song combined into a single waveform.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you note it can be done to an extent with varying effects on the song, but there is nothing that can do it very well yet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 8 } }, { "sents": [ { "text": "The future is here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can use a neuronal network called \"spleeter\" to separate voice and the arrangement of any song you like.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It is open source and can be freely downloaded from its official git repository:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://github.com/deezer/spleeter", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I used it a lot and totally love it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The separation isn't 100% clean but it is still very good for hobby usage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example for singing to original arrangement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe it is not that easy to install and run the programm for not programmers, since Spleeter do not have any graphical interface.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it is possible!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just follow the instructions on the git page and google or whatch youtube videos to clarify the single installation steps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have fun with it!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65584/Viktor Be", "score": 4 } }, { "sents": [ { "text": "A quick-and-dirty way is to split the stereo, reverse phase, and combine to mono.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Things mixed center -- generally voices -- get phased out while the things that are mixed wide just get squished to mono.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not perfect, but it'll get you closer and it is easy to do with free tools like Audacity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/195/Dave Jacoby", "score": 3 } }, { "sents": [ { "text": "The only clean way to do this, assuming you don't have access to the pre-mixed individual audio tracks, might be to completely recreate the music without the vocal tracks.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Perhaps try to transcribe the music and instrumentation extremely accurately (including all the subtile timing and pitch variations), feed this transcription to a midi synthesizer that has all the same instrument sounds, then play with a sound editor to tweak things until everything lines up with the original enough for your purposes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There might be research software that attempts to do some of this semi-automatically, not sure what state it's in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1489/hotpaw2", "score": 2 } } ]

{ "question": "I have been trying so much to do this but to no avail. Some softwares like cooledit remove it to an extent but ruin other things in the music. Please suggest some good method for this.", "title": "Removing human voice from songs", "forum": "music.stackexchange.com", "question_tags": "<software><vocal-range>", "link": "music.stackexchange.com/questions/6344", "author": "music.stackexchange.com/users/2396/Tabrez Ahmed" }

[ [ "A neuronal network called \"spleeter\" can be used to separate the voice and the arrangement of any song you like. A quick-and-dirty way is to split the stereo, reverse phase, and combine to mono.", "There are multiple possible options for removing vocals from a song. There is a programme called \"spleeter\" that may be able to do this for you, or alternatively you could split the stereo signal, reverse the phase and recombine them in mono. Failing these options, the cleanest way to do this may be to simply recreate the music without the vocals." ] ]

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[ [ "A neuronal network called \"spleeter\" may be able to help you do this.", "The easiest way to to do this is to split the stereo, reverse the phase and recombine in mono.", "Probably the cleanest way to do this is simply to recreate the music without the vocals." ] ]

[ { "sents": [ { "text": "While I am in favor of a teacher to guide you as mentioned in the first two answers I would like to expand on all of this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first thing is getting a guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you already have one, have your teacher check it out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, have your teacher show you how to care for the instrument, and how it should be set up, as well as going to a good luthier for a set up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would recommend a nylon string acoustic guitar for starters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I was 12 years", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "oldI wanted an electric more than anything", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but when Christmas arrived that year, I was fortunate to be given a nylon string acoustic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although I was a bit disappointed I quickly learned that having a nylon string guitar was better for me as a beginner as it was so much easier on my fingers before I developed calluses--a steel string would have made this a lot harder to learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I had already started piano when I was 10 so having 2 years of piano and basic music theory", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "helped me start learning scales, chords, and arpeggios from the start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wasn't until a year or so later that I took a few lessons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I was headed for classical or jazz guitar I would have continued the lessons, but soon I was in a rock band and learning pop songs which was what I wanted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I encourage you to hook up with like minded folks and play music together even if it does not lead to gigs.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Working with others is a great way to learn to play live, on time, and make music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "I eventually moved over to electric bass and played in a blues band during my high school years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This was a great experience to learn how to be a part of a rhythm section and how to support the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By this time I had acquired a couple of electric guitars and was still learning on my own.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I eventually studied composition in college and graduate school.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have always had a guitar handy to compose with as well as access to a piano which for composing are very helpful tools.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many years later, I returned to blues and got a stratocaster and a vintage fender black face amp and still play these with a small collection of other electrics and amps too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I jam with pals but rarely play gigs, but love playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I always find new things to learn", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I mention this, as guitar like anything artful has no end to learning and expressing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My focus is composition and making music for my own films so my development has a lot to do with the music that I think works on my current video project.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Summary:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get a good starter guitar that will facilitate learning.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Get lessons from a teacher that can guide you to the music you want most to learn.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Work in an ensemble or combo to get use to playing with others.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Continue your development as your passion drives you, take music theory in college or high school or if you're beyond that age, take night or weekend classes at your local junior college or continuing adult education center.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Never give up, keep working on the things that you want to master, and you can always find a teacher if you get stuck.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "And finally, be willing to take chances, don't be afraid to learn things that seem impossible now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2076/filzilla", "score": 4 } }, { "sents": [ { "text": "Guitar can be strictly taught and played or it can be completely free-form in your approach.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "There is no hard and fast rule.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Certainly, getting a teacher is preferred but not mandatory at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a former full-time (and current part-time)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "teacher, I wouldn't worry about bad habits at first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just try to have fun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To that end, I learned to play, initially, by using songbooks with chord diagrams at each place the chord is to be played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way, I didn't have to remember the fingering.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is what I recommend to students that are looking for extra activities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2557/B0nk3r", "score": 3 } }, { "sents": [ { "text": "I've never played guitar, but from my piano experience I'd recommend spending money on a teacher.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "That way you're forcing yourself to learn and you chop your learning time down to minimal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Find one who you think \"just seems cool\" and see how it goes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "good luck to ya.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2248/Stephen Hazel", "score": 1 } }, { "sents": [ { "text": "If you want to be pro-active.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try learning a song by ear.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "A snippet, a melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Something you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then take it to a teacher, or try video chat with a teacher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way you are working on something, but not letting bad technique get ingrained too long in the muscle-memory part of playing music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/288/Rene Marcelo", "score": 1 } }, { "sents": [ { "text": "I would add that sometimes the best approach is having both a teacher and practicing/learning things you like by yourself, that way you have the structure that having a teacher gives you and the motivation to go on because of learning what you like.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1542/jclozano", "score": 1 } } ]

{ "question": "Possible Duplicate: Need Help in Starting to Learn Guitars? What's the best way to start learning and progress at guitar? Should I start with scales, basic chord progressions or simple songs? I am asking this because I feel I am wasting a lot of time due to a lack of direction and structure in my practice sessions.", "title": "Where to start when learning guitar?", "forum": "music.stackexchange.com", "question_tags": "<guitar><learning>", "link": "music.stackexchange.com/questions/6724", "author": "music.stackexchange.com/users/2625/Michael W" }

[ [ "There are very varied views about how to start learning the guitar. Some people recommend lessons with a teacher while others advise learning by ear and teaching yourself. Another idea is to find like-minded people and learn/play together. A good starter guitar is also recommended.", "There are number of things to bear in mind when you start learning the guitar. First, make sure you have a good instrument, and then get at least some form of tuition to structure your learning and resolve any difficulties you have. As well as this, you can try learning songs by ear or play with other musicians to further your development." ] ]

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[ [ "Make sure that you have a good instrument to start with.", "Try learning songs by ear.", "Try playing with others to further your development on your instrument.", "Get some form of tuition to help structure your learning and resolve any trickier problems that you have." ] ]

[ { "sents": [ { "text": "I suppose with a cornet you'll have the ability to add something extra in for texture, so something like finding the main melody line in the song, whether it be with guitar or vocals have the trumpet follow this line to emphasise the line and it could offer a massive difference to the sound and feel of the song depending, you should try looking at reel big fish, they get away with a trumpet", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2950/Jordan", "score": 4 } }, { "sents": [ { "text": "I think the answers so far spend too few consideration on the fact that we're talking here about a single trumpet added to a standard rock ensemble.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sure, there is lots of pop/rock music with brass and wind, but that is actually quite different from only having a single trumpet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically, a single wind or brass instrument would only be truly capable of some solos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In some cases you might be able to mimick a full horn section and re-inforce part of a guitar riff.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, with a single trumpet, it is going to sound very thin, and you'll risk sounding like the rest of the horn backing section", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is on sick leave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the band is serious about adding wind/brass, you should consider getting either or both a (tenor) sax and trombone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This will allow you to make more background arrangements, and the arrangements can continue even when one brass has a solo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If that is not an option, I fear the trumpet will be confined to playing an intro or a solo here and there, maybe a couple of accents on a hook.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8883/Roland Bouman", "score": 2 } }, { "sents": [ { "text": "There are some good examples.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have a look at Less Than Jake's song, Gainesville Rock City: You need to arrange the songs", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it works, but rock music can definitely cope with non-standard instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 1 } }, { "sents": [ { "text": "There are several examples of bands with horns (including trumpets).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Going back a few decades two of the most prominent would be \"Blood Sweat and Tears\" and \"Chicago.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" There's also the 70's band \"Tower of Power.\" How about the Beatles (\"All you Need Is Love\")?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The one-hit-wonder band \"Alive and Kicking\" with \"Tighter, Tighter.\" Good luck!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10356/Randy", "score": 1 } }, { "sents": [ { "text": "First question is what do you want the horns to do?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just back up the band--as in a a typical horn section?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this is the case, the horns typically add support to the chord changes--so, you could try having the horn notes mirror the root and harmony notes of the individual chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many many R&B tunes are based on a I-IV-V progression--and the horns support as indicated (harmonizing against the chord changes)--and for the refrain, they typically walk down in a V-IV-Flat III-Root sequence (not necessarily single whole tones down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want the horns to carry melodies, that is an entirely different question, and I think whether a horn would sound good doing", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that really depends on the piece--a lot of music sounds good w/ backing horns, but not necessarily w/ horns carrying the melody--just my 2 cents", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30507/Derwood Kirkwood", "score": 1 } }, { "sents": [ { "text": "Put it through some effects, like an octave lower-er or something that makes the sound very reverberaty / echoey.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That way you can add ambience or texture without distracting from the rest of the composition and layers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Check out the band Cake, they do a great job adding horn skillfully without using any sort of effects.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8537/sova", "score": 1 } }, { "sents": [ { "text": "I have played trumpet for years, and am currently playing trumpet in a band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Trumpets have a wide range of styles they can do, so don't be afraid to experiment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Trumpets are very good for in the background or the occasional solo, but can do more than that as well, so it really depends on the song itself, and the player.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If the trumpet player likes going fast and high, then its easy to give them solos and complex rhythms and that will sound fine.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If they don't really like being in the spotlight, that's a bit harder because trumpet is a very attention-grabbing instrument but a quiet background is possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39851/Hallie Carson", "score": 1 } } ]

{ "question": "We need to arrange several pop rock songs . The band has vocals, acoustic guitar, electric guitar, bass, drums and keyboards. In addition, we add a trumpet . Do you have any idea, method or example of how to play the songs with the trumpet?", "title": "How can I use a trumpet in a pop rock band?", "forum": "music.stackexchange.com", "question_tags": "<trumpet><brass><band><instrumentation>", "link": "music.stackexchange.com/questions/7289", "author": "music.stackexchange.com/users/2902/nano.galvao" }

[ [ "With a cornet you'll have the ability to add something extra in for texture, so something like finding the main melody line in the song, whether it be with guitar or vocals have the trumpet follow this line to emphasise the line and it could offer a massive difference to the sound and feel of the song depending, you should try looking at reel big fish, they get away with a trumpet. If the trumpet player likes going fast and high, then its easy to give them solos and complex rhythms and that will sound fine.", "If you want to include a trumpet in your songs, you might be able to have it double up a guitar riff or a vocal line. Alternatively, you could provide them with some background parts and some solos." ] ]

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[ [ "A trumpet might be able to double up a guitar riff or a vocal part without too much trouble.", "Trumpets are normally a good choice for solos or background parts." ] ]

[ { "sents": [ { "text": "Obviously, headphones are the very first thing to recommend if you aren't already using them.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "A good pair of noise-cancelling headphones works both ways; you can be thumpin' it at 95dB and nobody", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but you will hear it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The sound produced by you hitting a rubber pad with a drumstick is a dull thunk, typically quieter than an ordinary conversation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have legitimate concerns about that noise getting through the walls into adjacent apartments, I would be taking them up with the landlord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If it's really a problem, you can hang a heavy curtain on the wall separating you from your nearest neighbor, perhaps leaving an air gap of an inch or two, and that should dampen the sound transfer through the walls considerably.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 4 ] ] }, { "text": "The bigger concern is typically the pedals; when you step on them, you are making a bigger thump with your foot than the beater or the cymbal triggers make, but all of that is combining on the hardwood floor to make it sound like you're pounding on the floor (which you are).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The solution to that is pretty simple; invest in an 8x10' area rug with a nice thick pile (even a carpet remnant, with a layer between it and the hardwood to prevent marring, would work fine on a budget), and put your kit on that.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "This will isolate the kit from the floor, which is the main means of vibration transfer this setup would have that could irritate the neighbors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Understand that over time the pile will compact under the weight and pressure of the kit's feet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Carpet protectors will mitigate this but can also defeat the purpose; they have spikes designed to hold whatever's on the carpet off of it, by transferring the load under the pile to the subfloor, which is exactly what you don't want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/766/KeithS", "score": 10 } }, { "sents": [ { "text": "Mesh should certainly be quieter, but to help save the sanity of your neighbours below, you will need to look at an isolated drum riser.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Tennis balls could work, but more commonly you see neoprene pads as these do a very good job reducing transmission of vibrations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Underneath that you could also use a square of carpet cut to the size of the riser as this will add another layer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 7 } }, { "sents": [ { "text": "Sand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Grateful Dead lined their space in sand, Moby encased his NY apartment in sand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are on the second floor, put your set on a sandbox.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Line the walls with sand bags.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "It's cheap, portable, labor intensive, works great.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'd probably get a kick out of this article, sums up the plight of the modern drummer well: http://www.thestranger.com/seattle/Content?oid=22178", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5658/sime0n", "score": 6 } }, { "sents": [ { "text": "This is a good start for anyone who needs a sub-$30 drum riser solution: I strongly recommend just buying a few tiles of \"foam plywood sub-floor\" (see link below).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I bought 6 and stapled a cheap rug to them to prevent them from spreading apart.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It acts as a great insulate drum riser, and has the added benefit of providing a uniform carpeted surface that pedals and stands won't move around on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I had many noise complaints before I built my studio, but the simple foam raised surface kept the neighbors at bay.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Example: http://m.homedepot.com/p/Barricade-1-in-x-2-ft-x-2-ft-OSB-R3-2-Insulated-Subfloor-Tile-OVRX2424R32/203640688/ PS", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- it's interesting how much people complain about the noise of electronic drums, yet not about other instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6964/Jason Miller", "score": 1 } }, { "sents": [ { "text": "Mesh is quiter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have a Roland TD-8", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(all mesh drums) and have compared that to rubber pads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The issue (which I also have) is twofold : The sound coming from the pad itself, and how much is transferred to the floor- which then transfers to adjacent rooms and of course to the room under you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The rubber pad is a solid hit - quiet, but transfers the shock of the stick hitting the pad directly to the kits cage/stand (and so to the floor).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Mesh makes a MUCH better job of dispersing the shock, and the bounce comes from the elasticity in the mesh (like a real drum) so not only are they quieter, they feel much more like a drum.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Things to bear in mind : Cymbals:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also rubber (normally)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so they transfer some shock to thecage and floor as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not as much as a pad as they're normallythinner and absorb more of the shock themselves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bass drum pedal :Basically you're thumping your foot on the floor (that's what itamounts to)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so having some kind of a drum riser is a good idea,although I managed to alleviate this problem a LOT by puttingthe drum pedal and pad (ie pedal and pad asssembly) on a pillow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It sounds like it should be horriblyunstable but the pedal settles into the pillow after a short whileand is quite playable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was a bit ungainly though so I stopped that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would think a drum riser with tennis balls as legs would work really well, and a much better solution - perhaps only for the pedals ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or maybe easier for the whole thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe a Pallet would be best so that it doesn't become a soundboard in itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hi-hat pedal :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you tend to keep this pumping with the rhythm then thiswill need the same treatment as the bass drum pedal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Drum pads : Even if you choose mesh ones, the rims will be solid so if you're practicing rimshots (or just hit the rim accidentally, whcih happens a lot on smaller pads)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "then it's much the same issue as the rubber pads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess you could set them at an angle", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you don't hit the rims though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The actual sound of the kit is a secondary issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Headphones are the obvious choice as other suggest or if you play through speakers you at least have a choice over the volume, and how much thump there is in the ovarall bass tones (the bit that travels).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 1 } }, { "sents": [ { "text": "My neighbour plays a 5 string guitar and has headphone/amps set up so half the time I don't even know he's having a play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may need to investigate something like this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5654/amanda witt", "score": 0 } } ]

{ "question": "I'm a drummer and recently moved into an apartment with high ceilings and hardwood floors. I have a Roland TD-4. I've been researching for ways to be able to practice quietly without disturbing my neighbors. I'm sure if I used all mesh heads that would be quieter than rubber heads. Also, a few mentioned creating a riser with tennis balls as legs to help deaden the noise. Is there anyway that I can play an electric set in an apartment without spending a ton on soundproofing?", "title": "Electronic drums in apartment", "forum": "music.stackexchange.com", "question_tags": "<drums><sound><noise>", "link": "music.stackexchange.com/questions/9542", "author": "music.stackexchange.com/users/2939/wwwuser" }

[ [ "There are a number of things you can do to prevent drum practice annoying the neighbors. These include hanging heavy curtains on the walls, placing the kit on a sandbox, installing a thick pile carpet, lining the walls with sand bags and purchasing an isolated drum riser. Obviously, the first thing to be done is play with headphones.", "To avoid disturbing your neighbours there are a few measures you may want to take. Firstly, you should consider getting headphones and hanging a thick curtain on the walls of your practice room. Then, you may want to consider placing your drum kit on a riser, some floor tiles, a thick carpet or even some sand to deaden the sound further. If you have serious concerns, however, you may wish to speak with your landlord." ] ]

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[ [ "If you have serious concerns about sound-proofing, you may want to speak to your landlord.", "You may want to consider placing a thick carpet, some floor tiles, a drum riser or even some sand under the drum kit.", "You should definitely be using headphones in this situation.", "You could use sand or sandbags to further insulate your practice room.", "Hanging thick curtains on the walls is a good way of sound-proofing." ] ]

[ { "sents": [ { "text": "I usually warm-up with a slow-blues I found in a magazine years ago.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's a video .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Can't really notate more, because it's never the same after this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's pretty easy to change the drone to A for the second verse and then pop a B7 and do a lick to turn it around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's really hard to make your fingers slow down for this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it really sounds nice slow and sweet , too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it's so simple that the temptation to jazz it up can be irresistible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Illustration made with MuseScore.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Haven't figured out how to make the title smaller, yet.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1344/luser droog", "score": 7 } }, { "sents": [ { "text": "My favourite one because it really helps to warm up fingers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play the first bar and then simply go one string down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do this until you reach the last string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3551/Max Malysh", "score": 4 } }, { "sents": [ { "text": "Beginner here, I also warm up with blues, I am not sure about how to name what I play but it looks like that", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I copied the notes from a 12 bar progression): E|---------------- B|----------------", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G|---------25---47", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D|----25-26---48-- A|--26", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "--2----4-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "---", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E|-3--------------", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I do it because my left hand needs to move vertically and horizontally", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(which is the hardest for me right now).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3387/Learning is a mess", "score": 2 } }, { "sents": [ { "text": "This is a good warm-up exercise to improve your finger dexterity on one string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The jumps from the 4th finger to your 1st are particularly tough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Follow the fingering guide above: 1 2 3 2 3 4 1 2 3 2 3 4E|--1-2-3-2-3-4-|-3-4-5-4-5-6-| ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1379/Craig Curtis", "score": 2 } }, { "sents": [ { "text": "Thats my warmups (first similar to Craig Curtis's).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But they're little harder, and can be used also as an exercise, not only as warmup.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Second one is about right-hand picking, and holding barre-chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2963/Jack L.", "score": 2 } }, { "sents": [ { "text": "I usually warm up playing scales.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes I play a single major scale form in a cycle of fifths.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other times I will just play through major and pentatonic scale forms in one key up and down the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then I usually just noodle around on some phrase or song with which I'm familiar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Caveat:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm an amateur and have no sound reason for why this is good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It just works for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5800/vantelimus", "score": 2 } }, { "sents": [ { "text": "In addition to the examples shown here, I would advise you to warmup without the guitar, stretching your hands, wrist and shoulders, but also and in my opinion more importantly, to warm DOWN after a big session of playing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 4 ] ] }, { "text": "I used to hurt myself when I was a beginner, as my left wrist would go from \"inside\" flexion during hours to a sudden outside flexion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The content of the exercise itself is not that important, and chromatisms are quite boring and frankly quasi-useless as a guitarist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What is important is to start slow, simple, with some are of your guitar playing which is mastered.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might be simple chords, it might be polyphonic tapping or tremolo, it depends on your personnal practice.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "A good video description of hand stretching", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5937/Chipsgoumerde", "score": 1 } }, { "sents": [ { "text": "I use arpeggios: major 7, minor 7, and dominant 7 in 5 positions (essentially CAGED).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Go through the circle of fifths, playing major 7ths in one of the 5 positions; repeat for other positions; repeat for minor 7 and dominant 7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice with a metronome, and gradually increase speed (over weeks/months/years).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "At the moment, I'm also working on tremolo picking, playing a scale using 4 sixteenth notes per degree of the scale (also, of course, with a metronome).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/861/PSU", "score": 1 } }, { "sents": [ { "text": "I saw some really good answers", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I agree with some of them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My favorite warm up practice helps strengthen all my fret hand fingers, as well as providing coordination with pick hand and fret hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Starting on the low E string 2 - 3 - 4 - 5 then the A 2 - 3 - 4 - 5 then", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the D 2 - 3 - 4 - 5 continue through all six strings and back up again.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Next move up one fret, so... 3 - 4 - 5 - 6 , then another fret 4 - 5 - 6 - 7 , all the way to 12 - 13 - 14 - 15 and back down 15 - 14 - 13 - 12.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This can be boring for your picking hand, so try all down strokes, or all up strokes, or alternate picking ( down - up - down - up ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I first learned this technique, I had a hard time getting clean sounding notes out of my pinkie ( since I used it so little ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then speeding up was tricky, but this exercise pays off!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One last thing I can recommend, is alternate the order your four fret fingers ascend and descend.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example: ......2 - 3 - 4 - 5 then 3 - 4 - 5 - 2 then 4 - 5 - 2 - 3 last 5 - 4 - 3 - 2 This helps train each of your fret fingers to work independently and quickly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try it and you may find a fun new exercise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6288/oneagent", "score": 0 } }, { "sents": [ { "text": "This warm up exercise helps stretch your fretting hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I found a picture that explains http://www.fretjam.com/image-files/hand-stretch3.jpg Push as far as you can and use all three crooks of fingers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6288/oneagent", "score": 0 } } ]

{ "question": "I do not generally warm up, but then I don't really stretch my playing as much as my ear when I practice. But I know I should. What are some good exercises to do before I start getting into the details of working for speed, developing scales, etc.?", "title": "What are good warm-up exercises for guitarists?", "forum": "music.stackexchange.com", "question_tags": "<guitar><practice><warm-up>", "link": "music.stackexchange.com/questions/9669", "author": "music.stackexchange.com/users/195/Dave Jacoby" }

[ [ "Playing scales, simple chords, arpeggios and practicing with the metronome are all recommended warm-up exercises for guitarists. In addition, it is advisable to do some exercises for hands, wrists and shoulders before starting.", "To warm up before playing guitar, any kind of playing could be acceptable. However, scales and arpeggios are normally a good start, and you may want to use a metronome to build up speed. Another thing you may want to consider is stretching without the guitar first before you start playing." ] ]

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[ [ "You could warm up simply by playing scales.", "Any form of playing could be considered enough for a warm-up.", "You could try playing arpeggios to warm up.", "You might want to consider practising with a metronome to build up speed.", "You may want to warm up without the guitar first, stretching your hands and fingers." ] ]

[ { "sents": [ { "text": "It actually goes back to the Medieval period when music that was not church music nor followed the church's rules was the devil's music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Madrigals were considered the devil's music because they were mostly about sex.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ending a piece on a minor chord was also forbidden which gave us the Piccardi third (raising the third of the final chord of a piece in a minor", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it cold end on a major).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tritone was also banned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In modern and American terms, the blues was considered the devil's music by the African American religious community at the turn of the 20th century because of song content and that it was tied to drinking and dancing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "This was true of jazz and carried over to rock and roll.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The associations with drinking, dancing and sex were the original reasons.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Voodoo New Orleans musicians didn't help the cause nor did the fears of middle American about their white kids listening to \"black\" music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then there was Led Zeppelin and Black Sabbath....", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2064/Michael Thibodeau", "score": 10 } }, { "sents": [ { "text": "The first thing that comes to mind is «backmasked» messages (i. e. hidden by the means of recording it backwards) with sinister and supposedly satanic contents: http://www.religioustolerance.org/chr_cul5.htm", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.nauglefest.net/backmask.htm", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best example of such message is the classic passage from reversed «Stairway to Heaven»: \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All yours, here's to my sweet satan, The one who's little path would make me sad, who's power is fake.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He will give you, give you 666.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There was a little toolshed where he made us suffer, sad satan.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Listen to it: http://www.nauglefest.net/downloads/stairway_reverse.mp3", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1698/Mischa Arefiev", "score": 4 } }, { "sents": [ { "text": "Replying to Michael Thibodeau: I would love to see any reference to non-church music being called the devil's music during the medieval period that cites medieval sources.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've been working on medieval music history for quite some time and never seen any reference to any of this history.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reference to the tritone being the devil's interval can't be traced any further back than the 1700s.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "See F.J.Smith, \"Some aspects of the tritone [...]: the non-emergence of the Diabolus in musica \" Journal of Musicological Research , 1979 for a complete debunking of this false tradition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The avoidance of the melodic tritone in medieval music was for melodic, not theological grounds.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "The practice of using tritones in melodic writing was actually freer in the late Middle Ages than later periods, with sonorities such as G-E-Bb with G in the bass considered as consonant as G-Eb-Bb or G-E-B.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5807/Michael Scott Cuthbert", "score": 4 } }, { "sents": [ { "text": "Overly-broad question that's dangerously close to off-topic, but I have to quote this famous song from a pioneer in Christian rock, Larry Norman (1947-2008).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With lyrics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The title quote, \"Why should the Devil have all the good music\"?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "has been attributed to none other than Martin Luther(1483-1546)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "A key factor is that rock and roll made people move in ways that were not conducive to celibacy, ie they had fun concentrating on worldly things rather than spiritual.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Obviously this is the work of the devil. :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nice screen grab, by the way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 1 } } ]

{ "question": "Historically, what evidence has been cited in support of the claim that Rock 'n' Roll is the music of Devil? This notion exists in the popular culture, fueled by Footloose and half-remembered grade-school history, that there was some form of official religious condemnation of the rock-n-roll form. What's the real scoop? On a related subject, was the interval of the tritone, the diminished fifth, really considered Devilish in the past?", "title": "What is the history of considering Rock 'n' Roll to be \"the Devil's music\"?", "forum": "music.stackexchange.com", "question_tags": "<history><rock-n-roll>", "link": "music.stackexchange.com/questions/9779", "author": "music.stackexchange.com/users/1344/luser droog" }

[ [ "The avoidance of the melodic tritone in medieval music was for melodic, not theological grounds. The reference to the tritone being the devil's interval can't be traced any further back than the 1700s. In modern and American terms, the blues was considered the devil's music by the African American religious community at the turn of the 20th century because of song content and that it was tied to drinking and dancing.", "The association of rock 'n' roll with the Devil may in part be related to historical associations between the Devil and particular forms of music. However, it is also possible that it was more related to the association between rock 'n' roll and drinking, dancing and sex. If the tritone was considered 'the devil's interval', this was probably a recent concept as the tritone was originally objected to on melodic rather than theological grounds." ] ]

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[ [ "The association with rock 'n' roll being tagged as the Devil's music actually goes back to medieval times when non-church music was considered the Devil's.", "If the tritone was considered the devil's interval, it was a relatively recent concept as the tritone was objected to on melodic rather than theological grounds.", "Rock 'n' roll was generally considered the Devil's music because of its association with drinking, dancing and sex." ] ]

[ { "sents": [ { "text": "The basics for playing the violin on average takes about 8 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This would give you with a lot of practise and ensemble experience about the standard for a community orchestra which you could continue to play in with no lessons and just regular practise to maintain your standard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the basis that you can learn an instrument as an adult with lessons once every month this, would mean 12 lessons a year for roughly 8 years.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "A basic violin wouldn't be good enough for all of the 8 years, so after about 4 years you would probably need to upgrade.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would suggest that you start your lessons with a violin that you have hired.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5956/Liz Peacock", "score": 7 } }, { "sents": [ { "text": "The most important is to feel in your body if you have pain, tiredness somewhere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Buy the violin you afford and ask more specific questions here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Holding the bow can seem difficult in the beginning, finding the right position just having the bow in the hand (no violin)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "some minutes can be very good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can think about relaxing one arm with relaxing the other, very often if you are focused/tense in one arm, then the back, neck and other arm will also get stiff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would recommend a shoulder-rest, easier to hold the violin in place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And as a general principle, no strong grep anywhere, holding violin and bow should not require big muscle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I usually tell my students they can record my violin classes, because often I say more things than they remember one week after.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By doing that they can listen again, between lessons and remember what they had to work with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How many lessons depends on the teacher & you.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There is no number.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Ask questions here as you go so we can help.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6511/Sergio", "score": 3 } }, { "sents": [ { "text": "The question is really subjective, but if you go to an expert teacher that understands the violin physics and ergonomics, he will be able to teach you the basic dos and don'ts withing even a year or two or even less, then you'll be able to play songs and others, obviously depending on your prior knowledge of music theory, your ear and intonation resolution, your talent, your physical status, and many other parameters.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/530/Shimmy Weitzhandler", "score": 2 } }, { "sents": [ { "text": "As others have mentioned, it's very subjective and dependent upon a lot of things.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In any case, I would never really say that it takes X years to learn Y. One variable would be the style of music you want to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You didn't call it a fiddle, so I doubt you are talking about old time, bluegrass or country.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Classical or Jazz might take some time, at least if you want to meet other people's standards (which you shouldn't).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, I can tell you, from personal experience, it shouldn't take 8 or 10 years to get the basics of violin down.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "It also depends on your definition of \"the basics.\"", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, in my opinion, starting out with any skill, believing that it'll take a decade to get the basics is a recipe for failure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Really it's all about knowing how you learn, considering how those before you learned and acting accordingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A good teacher goes a long way as Shimmy mentioned too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1997/Carter", "score": 2 } }, { "sents": [ { "text": "been playing for eight years, took basics for two, am now playing music that I feel is worth listening too.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I am seventy seven years old now.never give up", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it gets better with age lol thanks.oh yes jigs,reels,waltzes, and nice slow old tunes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/49384/robert cheney", "score": 2 } }, { "sents": [ { "text": "This question is way too open ended.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So is the answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How long is a piece of string?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one already has musical knowledge through playing another instrument or singing, the timescale will diminish greatly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "If one has a lesson a month, one will most likely NEVER get there.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 4 ] ] }, { "text": "If one has an investment in one's own instrument, one will feel more inclined to learn it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one practises for 2 hrs a day, one will get far more efficient than the one who practises 1 hr a day,etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ",etc,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "Playing the violin depends a lot on how good your ear is.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "If you can play a guitar(without having to read music), you will find violin a lot easier, to say it takes 8 years is laughable, it all depends on your ear, your ability to learn, how much you practice, you can learn to read music quite quickly if you are serious, practice , practice, practice, no substitute.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Dont listen to àny other stupid advice, especially the first one, I am still laughing at that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2 hours a day, 7 days a week, get some good books, within 8 weeks you will be playing tunes, dont be disheartened, keep practising, if it was easy it wouldnt be worth learning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/57472/helpful", "score": 0 } } ]

{ "question": "I'd really like to learn the violin, however I'll just be able to muster up enough money to buy a cheap violin and a few lessons. How many lessons do you think I would need in order to avoid practicing bad habits and learn the basics, assuming I practice enough?", "title": "How many lessons are necessary to pick up the basics of violin with sufficient practice?", "forum": "music.stackexchange.com", "question_tags": "<violin><lessons>", "link": "music.stackexchange.com/questions/10114", "author": "music.stackexchange.com/users/5961/Jamal" }

[ [ "How long it will take someone to learn the violin is very subjective. There are a lot of variables, including the person's knowledge of music, the teacher's ability, the frequency of lessons/practice, how good the person's ear is and if they already read music.", "The answer to this question is subjective and will depend on many variables. It will be particularly impacted by whether or not you can play another instrument already and how good your ear his. However, it could take between one and eight years to learn the basics well, and one lesson per month is probably not enough." ] ]

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[ [ "The answer to this question is subjective and will depend on many variables.", "It could take anything between a year and eight years to learn the basics of violin.", "The amount of time it will take to learn the basics will be greatly reduced if you can already play another instrument.", "The answer will depend greatly on how good your ear is.", "A lesson per month is probably not enough to make any meaningful progress." ] ]

[ { "sents": [ { "text": "To understand what an accidental is, you must first understand what a key signature is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is answered at: What is a key signature? ..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but briefly, a key signature is a set of markings telling you which notes to always play as sharps or flats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the key signature for F major consists of a ♭ in the B position, meaning \"Whenever a B appears in this score, play B♭\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An accidental points out a note which is an exception to the key signature.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It is a note with a ♯, ♮, ♭ next to it, to say \"although the key signature says otherwise, for this bar only, play it like this\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 12 } }, { "sents": [ { "text": "Accidentals are notes which don't usually occur in the key the piece of music is in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For instance, if you're playing a piece in C major and there's a B flat, then this is an accidental note since B flat isn't in the scale of C major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Accidentals are easy to spot in notation since they'll always have a sharp ♯, natural ♮, or flat ♭ sign in front of them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32/whostolemyhat", "score": 6 } }, { "sents": [ { "text": "In the key of C, the \"accidental\" notes are the black keys on your piano.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In any other key, the \"accidental\" notes are whatever notes that you need to play in the piece which are not in the key itself , and thus not in the key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "Don't forget also the (x) and the (bb).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Double sharps and double flats occasionally need to be used, to sharpen an already sharp (as in the written key signature) note, and vice versa.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E.g.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "in Db, there is already a Bb in the key sig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one wanted to write a chord of Gbm; the third, normally a Bb, would need to be flattened again.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus it is written as Bbb or B double flat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes I know lots of guitarists in particular would call it an A !!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But technically it must be called a B note of some sort - hence Bbb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These, I suppose, are actually the only accidentals that never get used as anything else.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, don't forget that after the next bar line following an accidental, all accidentals from the previous bar are cancelled.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It really bugs me that so many pieces of music put the cancelling natural, for example, in the next bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Totally pointless, yet seen in lots of piano exam pieces, especially at lower grades.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All it does is add extra superfluous marks to distract the player.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "The twelve tones in any chromatic scale are divided into two groups: Solfeggio and Accidental In the Key of C,do-re-me-fa-so-la-te (called solfeggio) are played on the white keys,where as di-ri-fi-si and li (called accidentals) are played on the black keys", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The entire tonal chromatic scale is: do-di-re-ri-me-fa-fi-so-si-la-li-te", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the Key of C the accidentals are C# - D# - F# - G# - A# Solfeggio", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "form the roots of \"Natural Chords\" represented by Roman Numerals I-ii-iii-IV-V-vi-vii Accidentals", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "form the roots of the \"Flatted Chords\" flatted II, flatted III, flatted V, flatted VI and flatted VII (all played as major triads as the roman numerals are all capitals)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus all 15 Chromatic Scales have the same tonal labels, which makes transposing from the Key of A (easiest for guitarist) to the Key of C (easiest for the pianist) extremely easy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead of thinking A is transposed to C, think: A is a 1 in the key of A and C is a 1 in the key of C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is why learning tonal scales and their corresponding roman numeral labels is a must for writing and transposing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm a self-taught song writer and have spent many years searching through music theory books and talking to professionals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have talked to many piano teachers who have had no clue that the accidentals have tonal names, nor do they understand the need for Roman Numeral designations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"What's the Circle of Fifths?\" is a favorite common response I get from piano teachers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess if you only want to read sheet music, there is no need for music theory, but it has helped me fully understand what I truly love: music!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48811/Dave Draper", "score": 1 } } ]

{ "question": "Can any one please explain what is an accidental note? Do they have any rules to play accidental notes in a scale? I only have basic knowledge of keyboards.", "title": "What are Accidental Notes?", "forum": "music.stackexchange.com", "question_tags": "<terminology><accidentals>", "link": "music.stackexchange.com/questions/10395", "author": "music.stackexchange.com/users/6119/Nemo" }

[ [ "An accidental points out a note which is an exception to the key signature. In the key of C, the \"accidental\" notes are the black keys on your piano. ", "Accidental notes are notes that don't appear in the key that the piece of music is in. For example, in the key of C, the black keys on a piano are all accidental notes." ] ]

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[ [ "Accidental notes are notes which don't usually occur in the key of music that the piece is in.", "In the key of C, for example, the black keys on the piano are all accidental notes." ] ]

[ { "sents": [ { "text": "Musescore is free as opposed to many other programs such as Sibelius or Finale.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, it is still very good and can do almost everything that paid programs can do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One of the input files accepted in Musescore is MIDI and it can output PDF among other formats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, as guidot said, it takes a human to do it right because a MIDI file does not contain all the information needed to create a complete score.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Blanks, such as key signatures, time signatures, ornaments, articulations, and enharmonics, must be filled in by guessing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's where a human operator comes in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your software, such as Musescore, must take the MIDI file and create a clean score with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Musescore does a very good job at this, but the blanks in the MIDI file must be filled in by guessing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It takes a human operator to correctly fill these in, but having software to do the rough draft is helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you have your software (such as Musescore), open the MIDI file.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Musescore will convert the MIDI to sheet music, but you will still have to correct things (such as those mentioned above).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have a good understanding of music, it shouldn't be too hard for most pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you've tidied the score up, output it as a PDF and you're done.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1678/American Luke", "score": 13 } }, { "sents": [ { "text": "Guitar pro does midi import and pdf export, so you should be able to obtain tabs and scores from it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5937/Chipsgoumerde", "score": 5 } }, { "sents": [ { "text": "This is not quite a \"conversion\", since the midi file is on a much lower level than a score.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So while you will surely get some output, it is more than questionable, whether somebody can play from it without considerable editing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an example midi contains nothing about a key and so has to make wild guesses concerning accidentals, same for time signature, dotted notes, arpeggios may not be recognized as such but separate notes and many more issues.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I'm afraid to state, that there is nothing to replace human (here: a musicians) brain for that task.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 5 } }, { "sents": [ { "text": "As @guidot said, nothing replaces human oversight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But a good piece of software (I use Digital Performer, which is decidedly not free) can quantize the MIDI performance, which helps it render a more conventional-looking score.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But you will still have to clean it up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5712/Robusto", "score": 2 } }, { "sents": [ { "text": "If you are looking for a free solution, Tuxguitar can help.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It does have a midi input and a PDF output.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will work on windows, linux, and mac.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, you might have to do a bit of clean up; it won't know what key you are using or anything like that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8730/user3015600", "score": 2 } }, { "sents": [ { "text": "If you know what you want the score to look like, the score-writing programs already mentioned will help you do the job.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the MIDI is configured as one string=", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "one channel", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you want guitar tab rather than staff notation", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", you might even get some way towards automatic conversion!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "The free software Lilypond comes with a tool called midi2ly , it converts midi-files to lilypond-files and lilypond outputs pdf-files by default.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But as many of the other answers already stated: \"The real work starts when the conversion is done!\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think many of the aspects are covered in the other answers", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I'll show a quick example how a score can look like directly after a midi import: $ midi2ly infile.midi -o outfile.ly$", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "lilypond outfile.ly", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And here is a the finished score, witch apart from: typing the notes setting key and time signature needed to be completely remade.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note: Lilypond is available for major distributions such as: Windows, Linux, macOS, FreeBSD a.o.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it does not come with a classical graphical user interface (GUI).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead it is working on source files that can get created with a text editor and get compiled with the program more comparable to a TeX/LaTeX workflow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is editing software available such as Frescobaldi or software more gaining towards a GUI workflow such as Denemo .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/42816/nath", "score": 1 } }, { "sents": [ { "text": "MidiSoft Recording Session for Win 95 Running on WIN-XP.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(You can use Oracle VM VirtualBox to host WIN-XP on Linux, Win-10)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "MidiSoft is out of business but there are copies of this program on the Internet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50583/Mike Winthrop", "score": 0 } } ]

{ "question": "I have a couple of nice guitar midi files that I would like the scores for; is there any software out there that can do this sort of conversion, and output it as a PDF file? Thanks", "title": "Transcribing a Standard MIDI File to sheet music", "forum": "music.stackexchange.com", "question_tags": "<notation><software><sheet-music><midi>", "link": "music.stackexchange.com/questions/10461", "author": "music.stackexchange.com/users/6162/Isaac Verbenski" }

[ [ "The score of a piece of music can be transcribed using Musescore, Tuxguitar, Lilypond, among others, which are free software. Alternatively, other programs such as Sibelius or Finale are proprietory.", "There is a wide range of programmes that may be able to do this, such as Musescore, Guitar Pro, Lilypond or Frescobaldi." ] ]

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[ [ "There is a wide range of programmes that may be able to do this, such as Musescore, Guitar Pro, Lilypond or Frescobaldi." ] ]

[ { "sents": [ { "text": "There does exist what we call \"rootless\" voicings in harmony.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 3 ] ] }, { "text": "These are chords in which the root is implied by the upper harmonies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically, the 3rd and the 7th are the primary indicators of chord quality, and the 5th is secondary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rootless voicings are most commonly used in settings where an instrument such as piano or guitar is providing harmonic support in an ensemble/group setting, and an instrument (usually bass) has already stated the root of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In composition, rootless voicings are utilized to keep the tonal center ambiguous and allow for the possibility of shifting the root of the chord underneath the harmony to create interest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here are some examples of rootless voicings: If you were to play the rootless voicings in the above picture without their root, the placement and use of the chord tones would imply the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why does this work?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Implied Roots", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I said earlier, the 3rd and 7th give the strongest indicator of the chord quality, and the 5th & 9th are the usual secondary indicators.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With that in mind, chord quality can be determined without a root when the following tones exist within the chord: Major =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd & Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Minor =>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd & Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Minor Major =>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd & Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Dominant =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd & Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Diminished 7 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd, Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5th, Dim.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(bb) 7 Half Diminished =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd, Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5th, Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Augmented Major =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd, Sharp 5th, Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Augmented Dominant =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maj.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3rd, Sharp 5th, Min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "7th Experiment with playing these chords & intervals without the root first, and then with the root -- you will become more familiar with the idea of not relying upon the root itself to express the tonal center of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good luck!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6595/Nate Kimball", "score": 22 } }, { "sents": [ { "text": "If some other instrument is playing the root, such as a bass, then that root note is in the chord that's being played by the whole band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're talking about playing a chord on, say, guitar or keyboard, then without the root it will sound odd, as it's not really a chord, which traditionally has 3 notes minimum (guitarists will disagree and talk about a '5 chord').", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't forget, though, that chords may have more than 3 notes :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "let's take Cmaj7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When it's played without the root C , we're left with", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E-B-G. This happens to constitute an E minor, which is not, obviously, the same chord as the C major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's take a G7 chord - G-B-D-F.Sounds, funnily enough, like a dominant 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take the root G away, and we have B-D-F, which is a minor flat 5 chord - different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In context, they may or may not sound similar but the moment the bass puts in the expected root, it's G7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To answer the question, it's used, and is called C (no root)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've not come across it often, but generally, someone else will be putting in the missing note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "It's important that a chord contain the root of the chord , but not necessarily the root of the underlying scale.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "A G Major chord played as part of the C Major scale will not contain the note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C. Occasionally, you don't need to include the root of the chord either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Particularly, if the note is covered by another instrument (or vocals) then the guitar part (or other harmony instrument, like keys) may omit the note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "A C Major chord with no root would be notated \"C (no root)\" or \"C Maj (no root)\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Technically, what remains is a dyad (E and G) which some consider to be an incomplete chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But depending on the context, this dyad can serve the function of the full chord, and so it's appropriate to designate it a chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1344/luser droog", "score": 2 } }, { "sents": [ { "text": "Yes, it is possible to lop off notes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Practical : for Major chords, play the 3, 5, and 6 of the chord, alternative : play the 5, 6, and 1 (root).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will hear that these same notes \"become\" the 5, flat 7, and 1, - alternative : flat 7, 1, and 3 of the Relative Minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is not the only way to take off notes, but it is a practical way of experimenting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/27128/Michael O'Dwyer", "score": 2 } }, { "sents": [ { "text": "As an example for rootless chords used in a \"standard\" situation, accordions with just 3 chord button rows (either because they only have 5 rows altogether, or because they have 3 instead of 2 bass rows) have a \"joint\" major seventh and diminuished chord row: instead of C-E-Bb and C-A-Eb (the seventh chords are generally missing the fifth, so this is c7 and cdim)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "they have just G-Bb-E which serves as both c7 and gdim (the octave of the chord notes is unspecific).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So for a typical Oom-pah accompaniment ofC-c-G-c-G-g7-D-g7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the \"g7\" will actually consist of D-F-B. Most players of accordions with just three chord rows (typical for French and Russian accordions) are not aware that their seventh chords are missing the root note and are actually diminuished chords (without fifth).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Particularly since the chords are usually spelled as c7 et al and are in the same location as a c7 would be when having four chord rows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the effect is effectively indistinguishable from \"true\" seventh chords since the Oom-pah pattern will provide for root and fifth presence regardless of which of the two may actually be missing in the chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/27131/user27131", "score": 1 } }, { "sents": [ { "text": "You can certainly IMPLY a chord without including its root.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Look at Bach's 2-part inventions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Plenty of harmony is clearly implied with just two notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Context can make an implication pretty solid.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it looks like a duck, hangs around with other ducks and goes 'Quack', chances are it's a duck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But unless all notes are included, we can't definitely state", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it IS that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Let's not get tied up in special cases like the 3rd not existing in an 11th chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unless it's a #11", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the chord's very likely a sus4 or a F/G shape anyway.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } } ]

{ "question": "While I understand that it is very important to include the root note in a chord, is it required? Let's say I'm in C Major, and I want to play a I chord. Do I need to include C in order for it to be considered a I chord? Or is the chord progression enough to imply that the chord I'm trying to play is a I chord? Additionally, if I can have such a chord, what is it called, or how is it notated?", "title": "Does a chord need to include its root?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-theory>", "link": "music.stackexchange.com/questions/11220", "author": "music.stackexchange.com/users/6597/uber5001" }

[ [ "It's important that a chord contain the root of the chord , but not necessarily the root of the underlying scale. If the note is covered by another instrument (or vocals) then the guitar part (or other harmony instrument, like keys) may omit the note. There does exist what is called \"rootless\" voicings in harmony.", "It is generally considered acceptable to omit the root note in chords and these are known as rootless voicings. However, some people would argue that this can't be done. Often, if an instrument omits a root note from a chord, it's because the root is being played by another instrument." ] ]

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[ [ "It is generally considered acceptable to omit the root note in chord voicings.", "Normally, if the root note is omitted by an instrument, it is because it is being played by another instrument.", "Some people would say that it is important to include the root note.", "A chord without a root note is known as a \"rootless voicing\"." ] ]

[ { "sents": [ { "text": "It doesn't make sense to me either, but it seems it's a valid convention, according to Wikipedia...", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "http://en.wikipedia.org/wiki/Whole_note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suppose it's only valid for measures of 4/4 or less; it would definitely look bad on 5/4, 7/4, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2230/Chochos", "score": 6 } }, { "sents": [ { "text": "I would say the convention is as you say, but in modern music some composers write the \"real\" length of the bar in pauses.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When so it has to do with sight seeing (\"à vista\")", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "reading, to make it easier to count empty bars and have a visual representation for the swing/rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, yes, the convention is so for most cases.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Found this on wikipedia (with references to music theory books:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The AB Guide to Music Theory & Music Notation: A Manual of Modern Practice):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When an entire bar is devoid of notes, a whole (semibreve) rest is used, regardless of the actual time signature.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The only exceptions are for a 4/2 time signature (four half notes per bar), when a double whole rest is typically used for a bar's rest, and for time signatures shorter than 3/16, when a rest of the actual measure length would be used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6511/Sergio", "score": 2 } }, { "sents": [ { "text": "Note, however, that a semibreve rest is placed at the beginning of the bar, where a semibreve note would go.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A whole bar rest, which uses the same symbol as the semibreve rest, is centered in the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "Adding to my comment above, in 5/4 for instance, the piece may have a 3-2 feel, if so, a dotted minim and minim rest cover it nicely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "In classic music theory when you have a full bar of rest you use the semi breve rest regardless of what time signature you are in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is to aid in reading the rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unlike notes the grouping of rest always aims to use as few rest as possible in attempt to not make reading the score unnecessarily difficult.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are playing in a symphony and you have to sight read 40 - 50 pages of music in a night", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you are definitely going to do it easier when you have one rest indicating a full bar of rests.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } } ]

{ "question": "Obviously for 3 and 4/4 you use the respective semebreve or dotted minim, but what about 7/8, 9/8 and 15/16? I heard the convention is to just use a semibreve, but that doesn't make sense to me over using tied notes.", "title": "What's the correct notation for a full bar note or rest in non-common time?", "forum": "music.stackexchange.com", "question_tags": "<notation><rhythm><time-signatures>", "link": "music.stackexchange.com/questions/11326", "author": "music.stackexchange.com/users/6629/Alexander Troup" }

[ [ "When an entire bar is devoid of notes, a whole (semibreve) rest is used, regardless of the actual time signature. In modern music some composers write the \"real\" length of the bar in pauses. According to Wikipedia, the convention is to use the semibreve.", "Yes, the convention is such situations is to simply use a semibreve rest to represent a whole-bar rest." ] ]

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[ [ "Yes, the convention is such situations is to simply use a semibreve rest to represent a whole-bar rest." ] ]

[ { "sents": [ { "text": "In addition the to answers already made, you should be aware that using the algorithmic-generated chord names can be \"musically inaccurate\" in the context of an harmonic analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Depending of the context, you can have for instance BDF (\"B dim\") play the role of GDBF (\"G Major 7\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's resolving to a C Major, you'll want to see BDF as a rootless dominant 7, not as a B diminished triad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rootless voicings is only an example : a software will have a difficult time with these little nice \"implicit/ambiguous\" things that make music an art :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7047/kurto", "score": 3 } }, { "sents": [ { "text": "Perhaps you can contact the developer of \"Chords\"...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the android app that is almost, ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "almost...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "all anyone ever needs in chord naming, inversions, locations on the fretboard etc. https://play.google.com/store/apps/details?id=com.rabugentom.chord&hl=en", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7240/kelly johnson", "score": 2 } }, { "sents": [ { "text": "A while back I worked on a Python module that performs similar tasks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take a look at the –triadType flag.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/820/grimmdude", "score": 2 } }, { "sents": [ { "text": "Lilypond is open source and has the ability to give chord names from tones.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So it must be somewhere in the code base.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8682/Meaningful Username", "score": 1 } }, { "sents": [ { "text": "First issue would be deciding what the root note is, otherwise as kurto says you'll get several answers for one set of note letters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Would the order of the letters matter?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe you could adopt a rule that the first letter is always the root ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Assuming you tackle that somehow (or just accept several answers)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", you could ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Assign a number to each letter (presumably you're accepting sharps and flats too?)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and use that to calculate the interval between the notes, in semitones eg what we calla 4th = from A to D is actually 5 semitones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could then use the intervals to match a set of known chord patterns against the root note: C E G as in your example, in semitones = 1-4-7 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[rootnote] major =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the relative pattern for a major triad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb G = 1-3-7 = pattern for minor chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1-4-7-10 = Cmaj 7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each time you're just reporting the root note with a comment about how the rest of the notes are arranged.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The limitation would be where a chord is percieved but the root note is missing - but that could be interpreted as some other chord anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The more pattern templates you identify, the better it'll become", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but you only need to define them relative to a root note in semitone numbers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If somenthing fits noneof the patterns (perhaps you haven't set one up for chord A4) then you just write the return the root note with extra note number (not semitone number).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you need a way to convert all letters (sharps and flats) to numbers =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a lookup table / associative array a way to identify the root note a way to identify the intervals of all letters from the root note = turn into numbers and subtract the root note number.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Modulus by 13 to keep it within 1 octave (or not if you want to get more advanced and handle negative intervals, for notes beneath the root note) a way to define pattern templates for known chords, with name text associated a way to compare semitone numbers to patterns (= an array comparison) a way to turn semitone intervals into note numbers (eg 5 semitones =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4th note on scale) so that you can return things like A4 If you wanted to return all possibilities for a set of notes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "then you could return the result for your routine, using each note in the chord as the root, in turn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm thinking on my feet here", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I think that's how I'd go about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 1 } } ]

{ "question": "I'm searching for chord recognition algorithms that will assign a chord name(s) to a group of notes, and related literature. Sometimes known as reverse chord identification, where you feed notes to the algorithm, and it will produce a list of possible names. An example: If we give the algorithm the notes C, E, G, the algorithm should name that group of notes as \"C major triad in root position \".", "title": "Looking for letter-based chord identification algorithms, and related literature", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-progressions><chord-theory><diatonic-harmony>", "link": "music.stackexchange.com/questions/12341", "author": "music.stackexchange.com/users/7218/Von Huffman" }

[ [ "Lilypond is open source and has the ability to give chord names from tones.", "Lilypond might be suitable software to perform this task." ] ]

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[ [ "Lilypond might be suitable software to perform this task." ] ]

[ { "sents": [ { "text": "I'm 24 and I started learning piano last year.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a fantastic thing to start learning a new skill, whatever age.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Truth is though, unless you're in severe trouble your average life expectancy is about 80+ years now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Meaning you have at least half a century to learn to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It takes about 5 years", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd say to get to a really good level,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I reckon you've got time", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ";)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing piano is good for your mental health, your IQ, your concentration and a whole host of other things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's worth the time you put in!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On a personal note, It's improved my life in ways beyond the keyboard!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6629/Alexander Troup", "score": 6 } }, { "sents": [ { "text": "My dad has always played woodwind instruments by ear -- sax, clarinet, flute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He took a piccolo along when he went to war in Vietnam.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He started learning to play the keyboard and read music in his 60's!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He loves it and plays for hours each day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Every time I talk to him", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he's telling me about what song he's working on and what new digital instruments he has or what new version of Pro Tools he has installed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He also wasn't much of a computer guy, but owns several Macs now and has taught himself a lot about using a computer so he can record his music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You're only 27?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's way too young to even be considering the question of it being too late for you to start something new.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Go for it!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What have you got to loose?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8636/CoderDennis", "score": 3 } }, { "sents": [ { "text": "You've probably heard the phrase 'it's never too late'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's true !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Grab the opportunity before arthritis gets a hold !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Decide how you want to go -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "either just mess about initially or get a teacher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may decide you need to read music-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you may not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a lot spouted out there about how important reading is - you have to decide -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I believe it would have held certain musicians back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Others, though, rely totally on this skill).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Go for it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If, later, you realise it's not working, then stop, but till you try, you'll never know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After all, as stated, you have moved on from video games - I guess.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unfortunately, the older we get, the less time seems to be available to us.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make the effort.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maths and music do happen to go well together, so you're in with a chance !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "Of course you still have chances!I started piano at 30, with no musical education at all, and I don't regret it one second.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you are motivated, you will enjoy yourself no matter what.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Starting late", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(if you consider mid 20s late...) has some advantages : you can transfer the experience you had in life and in work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You know yourself better, you know what works for you in terms of goal setting, time management, learning styles... Harmony and counterpoint have a lot in common with maths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if you start back from scratch, this will mean work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe not the best way to take a break from the thesis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7047/kurto", "score": 1 } }, { "sents": [ { "text": "I honestly think that starting out late limits you potential.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I don't mean to discourage you, but I think the answers seem to too optimistic to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My case is pretty similar to yours: I had some lessons as a kid, after that I still played \"with\" my keyboard (not \"on\" because it was more like a toy to me), experiment with it, try to play by ear...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it didn't get me anywhere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lessons where boring and made no sense to me, and learning alone felt impossible; so I soon got bored with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I started college, I was listening to a lot of music, so I got excited and bought a guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was really committed to learning music, and I started reading theory, watching video lessons, and my friend taught me some stuff...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I learned a lot in a very short period of time, but two to three years later", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I hit a wall.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was an ok player, but my progress kept slowing down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm only 23", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I feel like my brain is too old to learn any more music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think learning music is like learning a new language, and the younger", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you are the likelier you are to become proficient.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sure you can learn enough to understand it, but you won't be writing books and articles in it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6469/Anthony", "score": 1 } }, { "sents": [ { "text": "It's NEVER too late to learn an instrument.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Making music is not something that depends on your age.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "What i learned is, that the ONLY thing that matters making music is to have fun, nothing else!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if you like to play again, just do it, no matter what your age is or other people say!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8639/Obl Tobl", "score": 1 } } ]

{ "question": "I had a few keyboard lessons when I was around 12 years old. At that time I used to have a Yamaha psr 530 , a decent one for beginner . But back then, I loved to play video games rather than to learn keyboard, and also spent time to study math ^_^. The results, 15 years later, I am 27 , currently in a math PhD program, but completely forget how to play music. Is this to late now or I still have a chance to do it ?", "title": "Is It too late to start learning keyboard again?", "forum": "music.stackexchange.com", "question_tags": "<learning><keyboard>", "link": "music.stackexchange.com/questions/12441", "author": "music.stackexchange.com/users/7336/Peter" }

[ [ "It's NEVER too late to learn an instrument. Making music is not something that depends on your age. However, some ppeople say that starting late limits your potential.", "It is generally accepted that it is never too late to start learning an instrument. However, starting late in life might limit your potential." ] ]

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[ [ "It is generally considered that it is never too late to start learning an instrument.", "It might be the case that starting to learn an instrument late may limit your potential." ] ]

[ { "sents": [ { "text": "This is more clear when you think of it in terms of the length of the string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ignoring for a second that strings need to be a minimum length in order to vibrate, we can produce a full octave on the first half of any length of string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Open for the \"base\" note, midpoint for the octave, one third of the way up for the fifth, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So on a guitar you have the first half of the string to make up an octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then on the second half, you have another half of that (a quarter) to make up the next octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then another half of a half of a half (eighth) to make the next octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each time, you only have half the space for the octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus, each fret has to be half the size of the fret an octave lower.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This mirrors my comment above: While maintaining frequency ratios, the absolute frequency differences changes by a factor of 2, and that is represented in the physical frets as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 27 } }, { "sents": [ { "text": "Because frequency with regard to pitch is exponential, not linear.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Exponential (frequency doubles for each octave -- each higher octave fits perfectly into the lower one with the least possible interference -- 2:1 ratio):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A3: 220hzA4: 440hzA5: 880hz Linear (same value added to each successive frequency, making the top note a 3:2 ratio with the previous -- much more interference than an octave):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A3 : 220hz A4 :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "440hz'A5': 660hz --", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "**nope", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "**", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In reality, this 660hz would be a just intonation fifth above A4, or E5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/133/NReilingh", "score": 12 } }, { "sents": [ { "text": "The frets are getting arithmetically closer together (their absolute distance decreases).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But they are not getting geometrically closer, in terms of their distance from the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you take the distance from the bridge to any fret (call that X) and also the distance from the bridge to the next higher lower (call that Y), then the ratio X/Y is the same whether or not X and Y are frets 2 or 1, or frets 20 and 19.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This ratio produces the frequency ratio that corresponds to the (equal temperament) semitone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is 2 1/12 , or about 1.0595.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The two denotes that frequency doubles per octave, and the 1/12 indicates one half-step out of a potential twelve in an octave.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fret 19 is 1.0595 times farther away from the bridge than fret 20.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fret 1 is 1.0595 times farther away from the bridge than fret 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This 1.0595 ratio is also the frequency ratio.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you know the frequency of some given note, like A = 440", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hz, you can figure out what is the frequency of A#, one semitone higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just multiply 440 x 1.0595 = 466.18.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The A# above the 440A has a frequency of about 466.2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are 12 semitones in an octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If we multiply a number by 1.0595 and do that 11 more times, we will get about twice the original number.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can try this on your calculator.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Type 1 X 1.0595.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then hit the = key 12 times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should get a number very close to 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3053/Kaz", "score": 9 } }, { "sents": [ { "text": "For anyone interested the common ratio between the frets would be the twelfth root of 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8629/Andrew James", "score": 4 } }, { "sents": [ { "text": "Interestingly, all the answers are completely missing the point.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Everyone brings up the exponential increase of frequency as the reason (\"you double the frequency for each octave\"), but that is a red herring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even if the frequencies of consecutive pitches increased linearly, the higher note frets would still be closer together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The actual reason why this happens is because the length of the vibrating string is inversely proportional to the frequency of the sound it produces .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "This very simple physical explanation is the answer to the question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Given two \"consecutive\" frequencies f1 and f2, the distance between the two frets is proportional to (1/f1-1/f2) or (f2-f1)/ (f1*f2) .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So even if (f2-f1) were constant (i.e., frequencies increase linearly) or outright increasing , the denominator (f1*f2)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "still increases very fast as f1 and f2 go higher, which means that no matter what formula you pick for the frequencies, the distance between frets will get smaller.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28073/Bogdan Alexandru", "score": 1 } } ]

{ "question": "Why do spaces between guitar frets get smaller as the notes get higher?", "title": "Why do frets get closer as the notes get higher?", "forum": "music.stackexchange.com", "question_tags": "<guitar><theory>", "link": "music.stackexchange.com/questions/13936", "author": "music.stackexchange.com/users/7356/Shevliaskovic" }

[ [ "The actual reason why guitar frets get smaller as the notes get higher is because the length of the vibrating string is inversely proportional to the frequency of the sound it produces .", "This happens for two reasons. Firstly, frequency is exponential with respect to pitch rather than linear. Secondly, frequency is inversely proportional to the legnth of the string." ] ]

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[ [ "The reason this happens is because frequency in relation to pitch is exponential, not linear.", "This reason this happens is because frequency is inversely proportional to the length of the string." ] ]

[ { "sents": [ { "text": "It's just a name: it used to be based on four bars, which probably would comprise one set of chord changes (eg doowop, I vi IV V), but could just as easily be two or eight bars.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's like calling a song's bridge a 'middle eight', even though the number of bars may be different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Beatles always called their bridges 'middle eights'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8587/No'am Newman", "score": 9 } }, { "sents": [ { "text": "In swing setups such (e.g. tenor sax battles), it is not uncommon so see \"trades\" of varying (typically decreasing)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "length : trade 16, then trade 8, trade 4 and sometimes even trade 2 then", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "trade 1, each time building up the tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Things could also end in both musicians improvising simultaneously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nice example from Robert Altman's Kansas City: As for the reason behind 4 bars, I think it comes from the structure of the typical 32 bar form AABA, in which the 8 bars of A are often divided in 4 bars (tension / question) often ending in half cadence (V7) + four bars (relief / answer) ending in IMaj7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means having 4 bar solo by one musician followed by for bars by another is quite natural.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1079/gurney alex", "score": 9 } }, { "sents": [ { "text": "\"Trading twos\" is definitely a phrase people use. \"Trading eights\" might be.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "More generally, you can call it \"trading licks\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "8 bars is long enough to be thought of as a whole solo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get any longer than this and you're not really \"trading\" any more; you're just taking it in turns to solo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I say \"trading\", I mean that you base your lick on whatever the player before you played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 6 } }, { "sents": [ { "text": "Generally it'll be even numbers, 2, 4 , 8 as a 'line' of a song tends to be that long, so phrasing sounds more balanced.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "It follows from songs usually being 8, 12, 16 or occasionally 24 bars long.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Never heard in a band \"Let's trade 7s.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although that could be interesting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both to play and listen to...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "There are great answers already here, but perhaps the most important consideration is making sure no one gets cut short when the trading is over.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider a 12-bar blues.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wouldn't really work for the soloists to trade off every 8 bars, because whoever goes second in soloing would only be halfway through his/her turn when the 12-bar form ended.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(In particular, the first soloist would take bars 1-8, and the second soloist would take bars 9-12 followed by bars 1-4.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Spilling over like", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that can undermine the listener's sense of the form itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our ears generally expect to hear the soloist change at the very top/beginning of the form.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If that doesn't happen, it feels uneasy, and we might get the feeling that we don't actually know where the top of the form is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Jazz songs very frequently use 12-bar forms, 16-bar forms, or 32-bar forms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Letting the soloists trade off every 4 bars is great because all of those forms are evenly divisible by 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus no soloist's turn will be interrupted by the end of the form.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Trading 2 bars at a time is also common, and this frequently comes near the end of the trading, after having spent some time trading 4 bars.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Trading 8 bars is also pretty common, although only if the entire song has an integer multiple of 8 bars.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40842/jdjazz", "score": 2 } }, { "sents": [ { "text": "In most tunes, four bars is the smallest unit you will find a complete phrase, musical idea, or melody.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Although you will often see a complete chorus or bridge or A section of the tune in eight as well, but youll never see it in two because two bars is too short to express a complete musical idea.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 4 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5919/Michael Martinez", "score": 1 } } ]

{ "question": "I've run across the idea of \"trading fours\" when playing in (and listening to) jazz groups; i.e. where two or more musicians take it in turns to play four bar licks or solos. I understand that it can encourage creative interaction between musicians. However, I was wondering why it seems to be specifically four bars? Would trading twos or eights (for example) be less effective?", "title": "Why do jamming musicians \"trade fours\" (rather than any other number)?", "forum": "music.stackexchange.com", "question_tags": "<jazz><improvisation><band><jamming>", "link": "music.stackexchange.com/questions/14208", "author": "music.stackexchange.com/users/7328/Peter Bloomfield" }

[ [ "Trading Fours is just a name: it used to be based on four bars, which probably would comprise one set of chord changes (eg doowop, I vi IV V), but could just as easily be two or eight bars. It follows from songs usually being 8, 12, 16 or occasionally 24 bars long. Trading 2 bars at a time is also common, and this frequently comes near the end of the trading, after having spent some time trading 4 bars. Trading 8 bars is also pretty common, although only if the entire song has an integer multiple of 8 bars.", "In reality, this could be just a musical term and the actual trade may not be strictly four bars. However, the term \"trading fours\" originates from the fact that four bars or a multple of four is normally the length of a complete phrase or melody. \"Trading eights or \"trading twos\" is certainly possible, but \"trading twos\" is less likely since it's quite a short length of time to express a complete musical idea." ] ]

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[ [ "It might be that this is just a term, but the reality is that there is no need for the trade to literally be four bars.", "This relates to songs usually being 8, 12, 16 or 24 bars long.", "In most tunes, four bars is the shortest section that contains a complete phrase or melody.", "Trading 2s or trading 8s can indeed happen.", "Trading 2s might be less common because it is too short ot express a complete musical idea." ] ]

[ { "sents": [ { "text": "Technically, this is less about form and more about orchestration .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People can use instruments to denote a shift or division or a new section in the piece, though they don't have to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Orchestration is the art of timbre.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When instruments enter one at a time, their entrances are described as \"staggered\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The fact that the instruments enter halfway through the piece is an orchestrational one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Canons and Rounds do not apply in this context if the staggered voices do not also enter through imitation as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3518/jjmusicnotes", "score": 17 } }, { "sents": [ { "text": "Development , or buildup?", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Crescendo is when the music gets louder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Development is nearer to what you ask.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8828/atoth", "score": 3 } }, { "sents": [ { "text": "Though this technique does occur in \"composed\" music - Ravel's \"Bolero\" and (in reverse)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Haydn's \"Farewell\" symphony", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- it's more typical of music \"constructed\" in a sequencer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because a sequencer makes it easy to work in this way", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- set up a drum loop, add a bass, add a guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- you're right", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", we hear this done far too often!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think there's an accepted term for it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "\"Layering\" perhaps.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 3 } }, { "sents": [ { "text": "The closest term I found for this was a canon .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Not exactly the same, but pretty close.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A canon pretty much when one voice has the melody and some duration later another voice comes in playing the same melody and then the pattern continues for more voices.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A round is also a type of canon that may be slightly closer to what you are thinking of.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 2 } }, { "sents": [ { "text": "I think you can call this a \" Mannheim Crescendo \".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I also have a teacher who use a french expression to name it, a \"crescendo d'orchestre\", but I don't find sources for this denomination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26154/Sandra-Émilie", "score": 1 } }, { "sents": [ { "text": "I don't think you'll find an exact term for this, but what you are referring to is \"texture.\"", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In the type of piece you describe, the texture starts \"thin\" and then layers or builds to a \"dense\" texture.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the reverse(at the end of the piece)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you could describe the texture as \"thinning out\" or \"layering out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" If there is one instrument, the texture is monophonic, two is biphonic, and 3 or more polyphonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More info: texture on Wikipedia.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12700/user3861339", "score": 0 } } ]

{ "question": "Many songs will start with only a few number of instruments, and after a specified amount of time has passed a new instrument is added, and this is repeated until all instruments for the song are playing its rhythms. Sometimes this is also done when finishing the song, but in reverse order. Does this style of opening a piece has a name?", "title": "What is it called when a song starts with few instruments, and gradually adds one at a time?", "forum": "music.stackexchange.com", "question_tags": "<terminology>", "link": "music.stackexchange.com/questions/14278", "author": "music.stackexchange.com/users/8830/PhoneixS" }

[ [ "When instruments enter one at a time, their entrances are described as \"staggered\". Other suggestions for the same event are development, canon and Mannheim Crescendo. Many believe there is no exact term.", "It is possible that there is no accepted term for this, but some suggestions include \"development\", \"canon\" or \"Mannheim Crescendo\"." ] ]

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[ [ "There are a number of different terms for this, such as \"development\", canon\" or \"Mannheim Crescendo\".", "It is unclear that there is an accepted term for this." ] ]

[ { "sents": [ { "text": "Walking away from something and letting it \"marinade\" is a learning technique known as incubation .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When conscious, incubation occurs in the sub-conscious mind where your brain will continue to essentially run series of diagnostic tests addressing the problem it has been presented with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When sleeping, incubation occurs in the unconscious mind, and some people might even have a dream about the problem they are dealing with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This has been shown in mice wherein a given mouse was presented with a complicated maze.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When sleeping, electrodes attached to the mouse's brain illustrated the mouse running through the maze over and over, assimilated learned information.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The next day, the mouse was able to make it through the maze with little problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Incubation also has the added benefit allowing the person to approach the problem with a fresh perspective.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically, extended breaks from an instrument are not encouraged as a musician could lose a lot of fine motor-control and stamina.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That said, extended breaks can be beneficial.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, they could give a musician ample time to forget their bad playing / practice habits as well as renewing their enthusiasm and vigor for playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Small breaks (a few hours) are good and should be done often when practicing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Long, extended breaks (a week or more) should not be done frequently at all and in fact used sparingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "N.B. Mentally practicing is also quite beneficial.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If taking a break from your instrument, taking a practice session to mentally rehearse your music can aide in your practice as well.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3518/jjmusicnotes", "score": 13 } }, { "sents": [ { "text": "Could be several things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Certainly it takes time for repetitive practice elements to become part of \"muscle memory,\" the name given to motions which no longer require the conscious portion of the brain to process.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes we just get sick of a song, or phrase, or technique, and need to take a deep breath (lasting days :-) )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and let our attitude reset itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I am a little skeptical that you can walk away for more than a week and be able to play with the speed, accuracy, and endurance you had before.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Certainly no professional-level musician would consider that possible; they generally find missing even a few days can affect their feeling of comfort/capability.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Granted for us hackers with a day job (:-) )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's not as critical.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 2 } }, { "sents": [ { "text": "It can depend on a variety of things.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Often times, people don't practice as best they could, and actually end up wearing themselves out while trying to learn something.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "If you wear yourself out everyday, without giving yourself time to rest, you will play a certain way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After a while, it will be \"normal\" for you to play in this strained state.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you may feel like you're playing better because when you take time off, you're giving your muscles time to heal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also depends on your playing level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obsession at a young-professional level can become a problem, and you may feel like you're playing better after a break, because you've forgotten all the little things you were obsessing about to your own detriment.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "A lot of professionals do regularly take a week or two off from their instrument, to fully recharge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It can be a very taxing activity on your muscles, depending on what instrument you play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8848/elburzs", "score": 2 } }, { "sents": [ { "text": "When improvising a solo or just messing about on guitar, I too find that I'm better at it and more imaginative when I've left the guitar alone for a while, perhaps a few days/a week.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The dexterity will be slightly diminished but I find that my choice of what to play is more inspired.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's an optimum amount of time to break though - too short and theres no difference, too long and the connection with the instrumend diminishes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think best for me is about 4 days, but that's probably a personal thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think what's happening is the 'rut' of familiar runs and riffs work their way from muscle memory back into my 'brain memory'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(ie, my set of ideas for that moment) and becomes \"it's just what I do\", until I break that habit and allow myself to forget it for a while.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then I'm more open to a whole new set of riffs etc, and generally what feels to me like more interesting stuff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 2 } }, { "sents": [ { "text": "I searched out this topic to see if it is indeed a labeled phenomenon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't necessarily walk away from the instrument, but from some new, difficult pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I come back to them a week or two later, several of my previous \"sticking\" places in the music have miraculously worked themselves out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I honestly believe it has something to do with hearing how it should be played in our head rather than hearing the \"raw\" version.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "So perhaps our brains adjust the \"raw\" version into how it is supposed to sound while we sleep.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know, but it is a little freaky!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Great, but freaky at the same time!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23007/Gruvergirl", "score": 2 } }, { "sents": [ { "text": "I have noticed this too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's true for other things as well such as playing video games.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that when you take a break from something and come back later, your brain doesn't over-analyze as much as it did before.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "When you're practicing something extensively, the brain is faced with many memories of things that worked and those that didn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "During this time, there would be constant switching between these various little changes, which results in average performance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if you take a break and come back, your brain doesn't remember the little failures and will only work with what if knows works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another things that I noticed is that after I night of drinking alcohol, I notice that I perform better at tasks like music and video games.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This effect lasts for 2 days, and it decays completely by the third day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably this is related as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8896/Hex4869", "score": 1 } }, { "sents": [ { "text": "This is a thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It’s happened to me a few times now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just small breaks, 3-4 days, and I pick up and play things I never could before.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I never remember if I have had a dream but it makes sense to me that I might subconsciously rerun the things I have learnt and it becomes muscle memory without me realizing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/60881/Cordy", "score": 0 } } ]

{ "question": "Sometimes as a musician, I find myself in a rut. My solution is to simply put my instrument down and walk away from it for a few weeks, sometimes even a month, and when I come back I'm better than when I was practicing every day. I have my theories, that it gives my brain a chance to subconsciously process what I'd been learning, but I have nothing more than a guess. Why does taking an extended break sometimes help?", "title": "Why does taking an extended break sometimes help?", "forum": "music.stackexchange.com", "question_tags": "<learning><practice>", "link": "music.stackexchange.com/questions/14365", "author": "music.stackexchange.com/users/8855/Dan Gayle" }

[ [ "There may be many reasons why taking an extended break helps a musician. Obsession at a young-professional level can become a problem, and you may feel like you're playing better after a break, because you've forgotten all the little things you were obsessing about to your own detriment. Often times, people don't practice as best they could, and actually end up wearing themselves out while trying to learn something. When you take a break from something and come back later, your brain doesn't over-analyze as much as it did before.", "This could depend on a variety of factors but the real answer is unclear. By taking a break, it's possible that you will be less inclined to over-analyse your performance and therefore your perception of your own performance will improve. Similarly, practising a lot will wear you out, so you are likely to be fresher after a break. Another possible reason is that a break will give you a chance to mentally rehearse the piece rather than just physically." ] ]

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[ 0 ]

[ [ "This could depend on a variety of factors.", "Taking a break from practice can help you to mentally rehearse what you were practising.", "Sometimes, over practising can mean that you simply wear yourself out.", "By taking a break, it's possible that you stop over-analysing things and your perception of your performance improves." ] ]

[ { "sents": [ { "text": "Sounds to me like he's pushing his voice a lot harder to get over the band volume.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In an acoustic situation, he's singing in a more relaxed way, but put all the instruments in, at a volume which is probably unnecessary anyway, and the sing becomes more of a shout.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By turning up his mic a balance will partially be restored, (but his ears will still tell him to sing as loudly as possible), but surely it's better to get that back by turning the instruments down.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Give it a try - there's nothing to lose - except your hearing if that volume is up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 15 } }, { "sents": [ { "text": "Craig, the other answers all address the possibility that his \"singing nowhere near as good\" is because he's getting drowned out by the other band members.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's another possiblity as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If he sings very well by himself, accompanying himself, that doesn't necessarily translate into singing well with other people who are accompanying him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a different skill, and needs to be learned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can't be quite as free with the beat if everyone has to stick together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if the problem is that he's straining his voice, then yes, you need to work on the mix.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, if the problem is that everything sounds sloppy, then you all need to work together to get a tighter sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't mean that he has to get rigid to stay on the beat, that doesn't sound good either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But there's a kind of tapping into each others ideas that goes on when a band is really playing well together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each person has to get to know each other's style, and each person has to value the contribution of every other band member as much as his own.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes that's a problem for prima-donna type lead singers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know this because I've been one myself before. :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9399/BobRodes", "score": 10 } }, { "sents": [ { "text": "I agree with Tim.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A lot of bands tend to crank up their instruments way too loudly which is unfortunate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Everybody wants to be heard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Vocals are crucial for a vocal based band and the band should really work on mixing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Things you can do are make sure that the Vocalist can be heard clearly over all of the other instruments, especially the lead guitar and drums!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Controlling the sound of drums is difficult especially if there are no mics for the drums.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Band placement plays a role in this case.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, the volumes of all of the other instruments is totally controllable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might also want to consider getting some monitors so that the band members can actually hear themselves.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] }, { "text": "If you're playing with just the speakers that the audience hears it can be pretty hard to hear yourself clearly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So my suggestions are monitors and turn the vocalist up and the instruments down!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] }, { "text": "As I said before, in a vocal based band, the vocals are crucial.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People want to hear and understand the singer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9131/MrTheBard", "score": 8 } }, { "sents": [ { "text": "\"A violin player plays very nice when he is playing by himself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If he is bowing while another player does the fingering, he's not half as good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"A dancer is dancing the steps of some figure very well by himself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When he is dancing with another...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" A dancing pair is two beings moving with a common center of gravity and a common purpose.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It takes a lot of practice to arrive there: the end result is one of both doing their part confidently without being hampered by any apparent consideration for the other getting in the away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a similar vein, it takes a lot of practice for a band to play as one in a particular configuration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will also have taken a lot of time for your singer before his guitar playing and his singing formed one organic unit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now he has managed to have the whole performance under his single control.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which is exactly what is not his job in a band setting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8773/User8773", "score": 2 } }, { "sents": [ { "text": "Tim's answer coveres the vocal straining", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ hearinign yourself issue, but other factors I have noticed myself : Are the band in tune?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The vocalist doen'st stand a chnace if someone is out of tune with the rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which note should he/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "she settle on ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which instruments are too loud ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My band has been using a new bassist for the last year as our usual guy got very ill.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The new fella's bass is a 6 string thingy which goes so low", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it makes your buttocks rattle, and on more usual bass notes it's quite all-encompassing, even though not massively loud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can hear that I'm singing quite clearly, but it's hard to pick a note out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A bit of reverb/echo on the vocals helps enormously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It needs to be in the folback monitors so the vocalist can hear it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not sure of the science behind that", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it does seem to work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 1 } } ]

{ "question": "The singer in my band can sing very well. When he is singing by himself playing an acoustic guitar he sounds great. However when put into a situation where he is singing with a full band (ie: studio or rehearsal), his singing is nowhere near as good. Are there any tricks for him to perform better as a singer when playing with other people?", "title": "How to sing better in a band situation?", "forum": "music.stackexchange.com", "question_tags": "<voice><band><rehearsal>", "link": "music.stackexchange.com/questions/14959", "author": "music.stackexchange.com/users/1379/Craig Curtis" }

[ [ "In a band situation, the singer needs to be heard over the instruments or they will be straining their voice in an attempt to be heard. Using a monitor and turning the voice up and the instruments down can usually solve the problem. ", "It's possible that the vocalist is struggling to be heard. Ways around this would include turning down other instruments or turning down the vocals. Similarly, you could consider getting some monitors so that the vocalist can hear themselves properly." ] ]

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[ [ "It's possible that the vocalist is straining to be heard, so you should turn down other instruments or turn up the vocals.", "You might want to get some monitors so that the vocalist can hear themselves properly." ] ]

[ { "sents": [ { "text": "I'm guessing this is from guitar tab, with 6 lines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 6/8 really means 2 beats per bar, made up with 3 triplet quavers (1/8 notes).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This will give each bar only 2 beats, despite numbers like 6 and 8.The tempo mark found above tells how many b.p.m.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(beats per minute)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the tune should be played at, In this case, 107.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A metronome can be set to this, and every two clicks will represent a full bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This information is very basic, and could have been found with a few second's looking on thousands of websites.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitar tab will rarely have the time signature, so maybe this is drum music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The time sig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "will always be present on staves with 'proper' music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "The 107 defines the tempo(speed) of the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you see a metronome, you'll see that you can determine the speed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The speed of the specific song is 107 bpm (beats per minute).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, you can see that the duration of the note is a quarter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That means that if you set your metronome at 107 bpm, every tic would be a quarter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, the correct name for this would be '107 crotchet (or quarter) per minutes' The 6/8 is the time signature of the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It determines how many beats are in each bar and which note value constitutes one beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These don't just appear at the start of a guitar or drum score; they appear at the beginning of every score/song/exercise/whatever.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 7 } }, { "sents": [ { "text": "Here's a way for you to know how to understand time signatures.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The folks above have done a fine job explaining this, but you should know how to read all time signatures and what these things really mean.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first number above, the '107' is the beats per minute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This refers to the tempo, if you play with a metronome, you should set it at that value in order to play it at the speed that the composer intended it to be played at.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other 2 numbers that are on top of each other refers to the time signatures.(6/8)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the note on top refers to the number of beats per measure and the number below refers to which note value gets the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So in the case of 6/8, there are 6 beats per measure where the 8th note gets the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your time signature is 3/4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you have 3 beats per measure and the quarter note gets the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have 4/4, you have 4 beats per measure and again the quarter note gets the beat and so forth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9131/MrTheBard", "score": 3 } }, { "sents": [ { "text": "The bottom number in the fraction is unit for counting the \"tics\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The top number indicates that there are 6 tics (or 8th notes) in one measure.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "To set the speed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The top indication tells you that there are 107 quarter notes (or 214 8th notes) per minutes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "This serves to set your drum computer or metronome.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7287/dorien", "score": 2 } }, { "sents": [ { "text": "plain 'gets the beat' is essentially that value of the note by which the time signature and rhythm are measured.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So again to recap, the top number is the number of beats per measure and the bottom note (the one that gets the beat) is the value of the notes", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9490/wefwfwf", "score": 2 } }, { "sents": [ { "text": "The 107 on top of the score is the tempo or as it is referred to, beats per minute ( BPM ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The BPM is relatively known as the speed at which the song goes at.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second set of numbers ( 6/8 ) is known as the time signature or the meter signature or the measure signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are 4 main types of time signatures.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Simple ( 4/4 ) compound ( 9/8, 12/8 ) complex ( 5/4 ) mixed ( 13/16 & 4/4 or 5/8 & 3/8 ) and additive ( 3+2+3/8 )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", it shows you at which how many beats are in each bar over what note gets the beat or the value of tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So say if the time signature was of a common bottom value; the most common bottom values include 4, 8, 16, 32.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so a good example would be anything from 4/4 or 2/4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/31374/Qeiner", "score": 1 } } ]

{ "question": "At the start of a guitar or drum score , there are always these 2 numbers which I don't understand What do the 2 numbers circled in red mean ??", "title": "What do these numbers at the start of the music score mean", "forum": "music.stackexchange.com", "question_tags": "<guitar><theory><drums><time-signatures><tempo>", "link": "music.stackexchange.com/questions/15158", "author": "music.stackexchange.com/users/9218/Computernerd" }

[ [ "At the start of a guitar or drum score , there are always 2 numbers, the top number is the number of beats per measure and the bottom note (the one that gets the beat) is the value of the notes.", "The bottom number in the fraction is the unit for counting the beats and the top number tells you how many beats are in a bar. The top number tells you that there are 107 quarter notes per minute." ] ]

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[ 0 ]

[ [ "The bottom number in the fraction is the unit for counting the beats.", "The top number indicates that there are 6 beats in a bar.", "The top number tells you that there are 107 quarter notes per minute." ] ]

[ { "sents": [ { "text": "The best software that I've heard of is Melodyne.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's capabilities are truly amazing", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I think it will do what you want very well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take a look.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's not cheap though", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I think it has a free trial! http://www.celemony.com/en/melodyne/what-is-melodyne", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14848/e7mac", "score": 5 } }, { "sents": [ { "text": "There is an open-source project called CLAM .It", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "has an application that automatically analyzes chords: http://clam-project.org/wiki/Chordata_tutorial", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are also more advanced applications that are part of the CLAM suite that can do more complex analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here is a demo of chordata :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23287/Nathaniel M. Beaver", "score": 3 } }, { "sents": [ { "text": "There is software for that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it is not always very accurate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Especially with multiple voices (or instruments) starting at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Research on this started over 40 years ago: Rabiner, Lawrence, et al.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"A comparative performance study of several pitch detection algorithms.\" Acoustics, Speech and Signal Processing, IEEE Transactions on 24.5 (1976): 399-418. And has improved a lot during the last few years:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "De La Cuadra, Patricio, Aaron Master, and Craig Sapp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Efficient pitch detection techniques for interactive music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" Proceedings of the 2001 International Computer Music Conference. 2001.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suggest you take a look at the pitch detection plugin of the (free software)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Audacity here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7287/dorien", "score": 2 } }, { "sents": [ { "text": "This is called transcription software; did you mean an app as in a mobile device app?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or desktop?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many libraries that you could use if you were willing to develop your own app for either, of course, but there are also many already in existence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not sure how accurate they are, but you can always give a couple a shot (try searching Github or SourceForge)!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Or just wait for someone else's answer)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6133/ksoo", "score": 1 } }, { "sents": [ { "text": "Ableton Live has a feature built in called \"Harmony-to-MIDI\" where it analyzes an audio track (could be piano, guitar, whole song.. anything) and it outputs a MIDI sequence replicating the chords played in the piece.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It even chooses the closest sounding synth patch to match the source.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also available is Melody-to-MIDI and Rhythm-to-MIDI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not much of a keyboardist so I can't vouch for 100% accuracy, but it usually sounds pretty good to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might not be worth buying the software for this alone, but if you are into recording and producing music Ableton is definitely worth a look.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can try to software free for 30 days I believe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Edit:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I just tried a program called Transcribe!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it is very useful for transcribing recorded material.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can load your mp3s and it will analyze the frequencies and tell you which notes are represented over time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Works for piano, guitar, voice.. anything with a pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It won't automatically transcribe all the notes, but it will plot out which notes are likely being played, then use your ears figure out which ones are correct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13110/Charles", "score": 1 } }, { "sents": [ { "text": "A new app released today might be a sultion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://audiokit.io/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I dont have iOS device to check the accuracy though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Will borrow one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9465/iankit", "score": 0 } }, { "sents": [ { "text": "Honestly, I'm gonna give you the sell-out answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best way to determine what notes and chords are being played is with your own ear.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I'm sorry, but with all due respect to other responders, it's extremely difficult for any software program to detect chords, specifically.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For basic triads, some of the best software can do the job, but so much of chord naming depends on context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And isolating a fundamental frequency is no cakewalk, either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, for simple note naming, how would a computer know that a note with the frequency of 440", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hz is a B♭♭ in a C diminished 7th chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best computers currently can do is just give the most common enharmonic spellings for notes, but that creates tons of confusion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Never mind the fact that even single notes can be extremely difficult to pick out of a song, and they tend to blend with their harmonics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "getting around that, though, at least is possible if you can just hook up your note-naming software directly to the interface of a keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some other concerns bother me as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How is a computer to determine where one chord stops and ends?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I play a C major triad, then play the note B, is that Cmaj7 or just a passing tone?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe it's even part of the G major chord that follows?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How can a computer handle the rootless voicings?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is that C♯ diminished 7th or A7♭9?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is E-F-A-B the basis of G13, or maybe an enharmonic respelling for D♭7♯9", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭13, an altered chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best way I can conceive of, until AI can just perform musical analysis faster than we can, is to learn a lot of music theory, build up your aural skills, and name them yourself, because no software on the market today can get the job done more accurately than a human.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a reason Music's SE is so successful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We need humans to answer most of the good questions on this site, because context determines so much of musical analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Others have suggested slowing down the recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's a novel idea, and whenever I transcribe from audio I make use of any way I can to slow down the notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I cannot understate how effective that is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37992/user45266", "score": 0 } } ]

{ "question": "What is a reasonably good way to detect chords in solo piano music? Not the MIDI ones, but music generated by real piano/electronic keyboard. I am trying to play a piano piece and check out its chords by feeding the piano output sound through microphone to my computer.", "title": "Detect piano notes and chords", "forum": "music.stackexchange.com", "question_tags": "<piano><chords>", "link": "music.stackexchange.com/questions/15315", "author": "music.stackexchange.com/users/9465/iankit" }

[ [ "The best software for detecting notes and chords in music is possibly Melodyne. Ableton Live has a feature built in called \"Harmony-to-MIDI\" where it analyzes an audio track (could be piano, guitar, whole song.. anything) and it outputs a MIDI sequence replicating the chords played in the piece. However, the best way to determine what notes and chords are being played is with your own ear. ", "The best way to identify chrods from audio may well be with your own ear. However, software programmes that may be able to help include Melodyne and Ableton Live." ] ]

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[ [ "Software programmes that may be able to help with this task include Melodyne and Ableton Live.", "The best way to identify chords from audio may well be with your own ear." ] ]

[ { "sents": [ { "text": "I suppose that happens in the left hand in the songs you're referring to, while the right hand plays something different?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then it's a kind of alternate bass .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 5 } }, { "sents": [ { "text": "In all your examples, the pattern is first, perfect fifth, octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess you can understand why the first and the octave sound good (sound in unison),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "right?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's the same note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The note in between is a perfect fifth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wikipedia says The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means that when you play a note, the 'best sounding' note in unison with it (after the octave) is the perfect fifth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might understand it better when you write it as 'perfect fifth' rather than 'fifth'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The term perfect identifies the perfect fifth as belonging to the group of perfect intervals (including the unison, perfect fourth and octave), so called because of their simple pitch relationships and their high degree of consonance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 3 } }, { "sents": [ { "text": "All three of those are simply I-V-I progressions.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "the V-I is called an authentic cadence, or full close.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's the most widely used cadence there is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not sure what else I can say about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-I is when the music moves from the Dominant chord to the Tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are arguments that all western music is about how we move from the dominant to the tonic, but that's a huuuuge topic", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for which sets go together, it's all about what key you are in, and the context of what you're playing, and which follows which.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(basically it's a way too broad topic, but start by learning about key signatures)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "see also: Wikipedia on Authentic cadences", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6629/Alexander Troup", "score": 2 } }, { "sents": [ { "text": "Assuming that the chords are intended to be read top to bottom, left to right, I would say that you have a I V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I chord progression with dominant seventh/ sharp ninth chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case the seventh is omitted, but the combination of a major and minor 3rd in the same chord (i.e. E G# B G or A C# E C) would usually be called a dominant seventh/ sharp ninth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the classic Hendrix chord in Purple Haze, among other things...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://en.wikipedia.org/wiki/Dominant_seventh_sharp_ninth_chord", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9502/kiprainey", "score": 1 } }, { "sents": [ { "text": "If you are talking about guitar, these are \"power chords\", usually notated as \"5\" chords (as in \"C5\").", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Played on three adjacent strings, they are easily movable chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Move the shape to different strings (e.g., from EAD to ADG) and you get the perfect fourth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Especially when played on an electric and adding distortion, power chords have a distinctive sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For examples, see The Kinks' You Really Got Me Deep Purple's Smoke on the Water or", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Cars' You Might Think", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9738/Hutch", "score": 1 } }, { "sents": [ { "text": "In a general sense, that pattern is simply referred to as \"open fifths.\"", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(It has other names too, such as a {0,7} unordered pitch class set).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sticklers might argue that this is not a chord at all but an interval with one note doubled.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's common because the notes are harmonious with each other even in lower ranges.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A full chord in the bass sounds very muddy, but leaving it \"open\" allows the notes to ring a bit clearer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will see open fifths in the left hand whenever a chord is in the \"open position\" meaning the notes of the chord are spaced out for a more open sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another common left-hand pattern is 0-5-10 (C1,G1,E2) which also has a pleasant open sound but is more difficult to play as it requires your left hand to stretch to a 10th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So that explains left hand open fifths, but why does this pattern show up in the right hand as well?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well, an open fifth is a lot like a triad that is missing its third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some chords, however, have their third in the bass (this is known as a 6-3 chord, named after the size of the intervals above the lowest note).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When there is a third in the bass it is very difficult to double it without introducing parallel octaves, which is considered poor voice leading in much of western music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if there is a third in the bass, the right hand is often playing open fifths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll find this pattern all over the place in the scores of Mozart and Haydn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9774/John Wu", "score": 1 } } ]

{ "question": "I really commonly find that contemporary songs use an arpeggiated up-and-down progression over notes that are in this shape, here are some examples: C1, G1, C2 C#1, G#, C#2 E1, B, E2 A1, E, A2 Is there a name for this? How can I tell which sets of these go together?", "title": "What is this common left-hand arpeggiated pattern?", "forum": "music.stackexchange.com", "question_tags": "<theory><piano><chords><keyboard><arpeggios>", "link": "music.stackexchange.com/questions/15440", "author": "music.stackexchange.com/users/2120/temporary_user_name" }

[ [ "In a general sense, the arpeggiated up-and-down progression pattern used in comtemporary songs is simply referred to as \"open fifths.\" If you are talking about guitar, these are \"power chords\", usually notated as \"5\" chords (as in \"C5\"). ", "It is unclear what this pattern is called, but potential names include \"I-V-I progressions\", \"power chords\" or \"open fifths\"." ] ]

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[ [ "It is unclear what this pattern is called, but potential names include \"I-V-I progressions\", \"power chords\" or \"open fifths\"." ] ]

[ { "sents": [ { "text": "In an orchestral situation, it is a terrible idea to rely on the conductor - they may not be able to cue you or instead are going to give a more important cue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just because you are not playing does not mean you're allowed to sit and wait for a bus.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Scores that have been edited well will have \"cues\" written in the parts, so, say you zone out accidentally or lose your place after 200 measures", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", you see the cue for an oboe solo in your part", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you know where you are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, here are a couple good habits to get into: raise a finger or flick your leg each time you get to a rehearsal mark - this is a great way to keep a section together (trombones in Mahler, for example.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "when counting measures, give one number to the entire measure, and take the measure's duration to say the number to yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ex: Ooonnnnneeeee Twwwooooooo Threeeeee etc etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Counting this way greatly reduces counting confusion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like others have mentioned - listen to others around you; know what they are doing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Just like in a play, it's good to know everyone's lines around your lines so that if someone else screws up you're still good to go.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3518/jjmusicnotes", "score": 15 } }, { "sents": [ { "text": "Adding to Dom's answer, the key is often in listening for cues in other people.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Find out what other parts are doing around the time you come back in and before, so you can listen for that sign that you're about to come back in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6629/Alexander Troup", "score": 10 } }, { "sents": [ { "text": "In an orchestra, let the conductor do the work for you", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "- they should let you know your moment is coming.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a smaller group, say a string quartet, you wouldn't expect such long rests (after all, you're 25% of the ensemble) -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but learn what the other parts sound like and use that to time your return.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So instead of \"Now I count 64 bars\", it's \"I'll come back in after the third repetition of the main melody\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 6 } }, { "sents": [ { "text": "You don't actually have to count every bar that you don't play especially if you go many bars without playing anything.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Most large form pieces and even Jazz pieces are broken down into smaller parts i.e. an A section, a B section, C section, ect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you could have sections A, B, and C be 32 bars each", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you many not start playing until 4 bars into section C and instead of just counting 68 bars", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you could listen for the start of the C section and then count 4 bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you know the song inside and out you may not even need to count the 4 bars you may just be able to \"feel\" when you come in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Also the conductor in an orchestra will cue the instruments coming in as it is what they do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 6 } }, { "sents": [ { "text": "I count bars 1-2-3-4 2-2-3-4 3-2-3-4 etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "in my head and simultaneously keep track on my fingers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each finger denotes 1, thumb denotes 5, so I can count up to nine on one hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So with two hands I can keep count up to 99.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Major benefit of this is that I can multi-task - I keep counting whilst picking up mutes, pointing at music and so on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After a while you can preset a count, so if the conductor says start at bar 8", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you put down thumb and three fingers and start counting from there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One advantage of designating fingers as 1 and thumb as 5 over binary is that it's much easier to preload a count on your fingers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The disadvantage is that you can only count up to 100 on two hands, rather than 1000...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So say the conductor says \"we're going from bar 67\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you have an entry at bar 80,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you just preload 67 onto your fingers and start counting bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Compare this with having to preload 67 in binary onto your fingers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 2 } }, { "sents": [ { "text": "Back in my orchestra days I played oboe, so I often had long rests.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Until you know when to come in based on what's happening in the other parts, as others have already said, you need to count bars of rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I used to count on my fingers, but in binary, from left thumb to right thumb.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 3 ] ] }, { "text": "That way, you can count to 2^10 or 1024, which is probably enough for most pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It starts like this:(all fingers are in except those noted)1-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "left thumb;2- left", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "index;3-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "left thumb and index;4- left middle;5-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "left thumb and middle;6- left index and middle;7- left thumb, index, and middle;8- left ring; etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's fun and easy to learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } }, { "sents": [ { "text": "I also recommend counting in the way Brian THOMAS has explained (1-2-3-4-2-2-3-4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However as mentioned this gets really complicated with 20+ bars rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now from my experience with sheet music in orchestras you often already have long rests seperated whenever the key, general theme or athmosphere changes or new instrumental groups are introduced.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try to pay attention to such separations and listen to the music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try to listen to the piece and figure out what happens at those seperations and use them as markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally listening to the piece you play a couple of times is a good idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've had some long rests in certain pieces that were really hard to count but after listening to the music for a while I memorized my entranced by heart.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your sheet doesn't have any seperations during long rests (or has seperations that don't make any sense) then make them yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I usually look at the sheets of other instruments that I can visually see or hear well and when they suddenly start playing", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I mark their entrance in my rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Solos also work great for this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What also helps is looking for fermatas.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These are often really easy to hear and are a great means of orientation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36217/Carpid", "score": 1 } }, { "sents": [ { "text": "As a trombonist, I often had VERY long sections of rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously I'm not going to sit there counting \"one-two-three-four, two-two-three-four.....six-hundred-and-seventy-three-two-three-four...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The composer or copyist must supply me with landmarks, including a prominent cue played by another instrument a few bars before my entry.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Previous players of the part might leave me further pencilled-in information like \"time for two pints here!\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } } ]

{ "question": "Playing in a jazz band there are often 5,6 or 8 bars of silence. This is no problem as I can count them on my fingers. But how do I count larger rests, for example 52, 112 or even longer rests, as in classical pieces? What techniques do you have to count a large numbers of silent bars?", "title": "How do you count many bars of silence (rests)?", "forum": "music.stackexchange.com", "question_tags": "<rhythm><performing><time-signatures><band><orchestra>", "link": "music.stackexchange.com/questions/15591", "author": "music.stackexchange.com/users/9440/WeSee" }

[ [ "When your instrument has a long rest, it is good to find out what other parts are doing around the time you come back in and before, so you can listen for that sign that you're about to come back in. If you know the song inside and out you may not even need to count the 4 bars you may just be able to \"feel\" when you come in. In an orchestra, let the conductor do the work for you. You don't actually have to count every bar that you don't play especially if you go many bars without playing anything.", "The answer to this question will be subjective, but you may not need to count all the bars that you don't play. If you know the piece or other people's parts well enough, you may be able to simply recognise when you're supposed to start playing again. Alternatively, you could count the bars on your fingers or simply wait for the conductor to indicate when you should start again." ] ]

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[ [ "Knowing other people's lines is a good way to know when you should come in rather than counting rests.", "You could rely on the conductor to let you know when to come in.", "Some people would argue that it's not necessary to count every bar that you don't play.", "Some people count the bars on their fingers." ] ]

[ { "sents": [ { "text": "Yes they exist.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I don't know all of them of the top of my head, but I'll give you the three that come to mind easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first is a fully diminished chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because there are only 12 named notes and a fully diminished chord is made of 4 notes that are a minor 3rd apart from each other (3 semitones) there are only 3 different chords but each can be named 4 different ways.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, a C fully diminished chord would consist of the notes C-Eb-Gb-Bbb , a Eb fully diminished chord would consist of the notes Eb-Gb-Bbb-Dbb(C) , a Gb fully diminished chord would consist of the notes Gb-Bbb-Dbb-Fbb(Eb) , and an A (Bbb) fully diminished chord would consist of the notes A(Bbb)-C-Eb-Gb .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second is an augmented chord and like the fully diminished chord because there are only 12 named notes and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "an augmented chord chord is made of 3 notes that are a major 3rd apart from each other (4 semitones) there are only 4 different chords but each can be named 3 different ways.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example a C augmented chord would consist of the notes C-E-G# , an E augmented chord would consist of the notes E-G#-B#(C) , and a G# augmented chord would consist of the notes G#-B#-Dx(E) .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The third example are 7th and 6th chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some minor 7th chords contain the same notes as 6th chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example a C6 would contain the notes C-E-G-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A and an Am7 would contain the notes A-C-E-G .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In all these examples you name the chord based on the context of the key for example if you are in the key of Db minor", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you see the notes Eb, C, Gb, and Bbb", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you would call that a C fully diminished chord because C is the leading tone of Db minor", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it makes the most sense in the key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another example is there are polychords and extensions that will contain the same notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A very simple example is Eb/C (produced Eb over C) can be represented as an C7#9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While the notes of each are the same, a polychord refers to a specific idea where there are two distinct perceived chords rather then just one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 21 } }, { "sents": [ { "text": "I will avoid the debate in the comments about whether \"enharmonic\" is the correct word.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But yes there are loads of examples of chords with the same notes in them.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Example 1 C D G =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Csus2 G C D = Gsus4 Example 2 A C E G = Am7 C E G A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "= C6 Example 3,4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The full diminished and augmented chords where any one of the notes can be considered a root without even changing the type of harmony:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B D F Ab/G# (full diminished) C E ab/G# (augmented) Example in use and conclusion", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best name depends on context,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that is what chord it precedes and follows, more than it does on the inversion used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The following (rather overused) chord progression I heard recently in a local band's song springs to mind: C Am F G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At the end of the song it went uptempo and the chord progression changed to the following: C6 Am7 F G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the C6 and Am7 were exactly the SAME CHORD, completely blurred together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "EDIT:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "John Lennon's Happy Christmas (War is Over) Just occured to me this is a good example of why you need different names for the same chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If we look at the chord progression over the first half of the verse, it's easy even for a non musician to appreciate the symmetry and realise why this song is so popular.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fast change through chord type (3rd, sus2, sus4 and back to 3rd) combined with the slow change through chord root (A B E A) make this song both energising and soothing at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Asus2 Asus4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Bm Bsus2 Bsus4 Bm E Esus2 Esus4 E A Asus2 Asus4 A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, Esus4 and Asus2 contain the same notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I wanted to standardise the name of this chord I could pick Asus2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Applying this rigorously I get A Asus2 Dsus2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Bm Bsus2 Esus2 Bm E Esus2 Asus2 E", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Asus2 Dsus2 A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which is totally confusing and completely misses the point of the chord progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9630/Level River St", "score": 13 } }, { "sents": [ { "text": "There are chords that function in different ways in different contexts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take for example the chord C-E-G-A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the tonic chord of the key of C major with an additional note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is called an \"added-sixth\" chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It has a very pleasing sound and is often used as an ending chord in jazz and in the music of Olivier Messiaen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now play C-E-G-A on your keyboard, but follow it with C-D-F#-A and then B-D-G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As if by magic the chord has become the first inversion of the ii7 of G major; the \"dominant seventh of the dominant seventh\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same notes, but what was a restful ending chord is now a chord that has to move in order to resolve.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/113/Mark Lutton", "score": 4 } }, { "sents": [ { "text": "I realize that this is in some sense the dual to what you asked, but here's one of the most famous chords in music history, the Tristan Chord .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "150 years after it was first played, still nobody can agree on how to interpret (and thus name) that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2212/Jörg W Mittag", "score": 3 } }, { "sents": [ { "text": "Yes, for example the min9 is actually a maj13, 3 semitones away E.G. Gmin9 = BbMaj13 Very useful in jazz when you want to move somewhere other than the predictable (ii-V) patterns, e.g. if G wanted to move to C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it can now instead move to Eb (Bb being the 5th Eb as G is to C).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's good to know and gives more options.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63314/Paul Mina", "score": 1 } } ]

{ "question": "Will I even encounter any enharmonic chords? For example would an inverted variation of one chord be equivalent to the root variation of another chord?", "title": "Are there any enharmonic chords?", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory>", "link": "music.stackexchange.com/questions/15630", "author": "music.stackexchange.com/users/9233/RyanScottLewis" }

[ [ "There are many enharmonic chords.", "Yes, there are many examples of chords that contain the same notes as each other." ] ]

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[ 0 ]

[ [ "Yes, there are many examples of chords that contain the same notes as each other." ] ]

[ { "sents": [ { "text": "It will be beneficial to learn some music theory.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In that way you'll be able to identify repeating patterns (like the II-V-I chord progression).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is easier to memorize larger chunks, so learning how to identify patterns by e.g. chord function should make it easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8682/Meaningful Username", "score": 3 } }, { "sents": [ { "text": "Someone asked about a good way to remember song lyrics in this thread : Good way to remember lyrics when covering songs?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I shan't repeat everything written there .. if you're playing an instrumental some of the techniques may still help!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've found that just listening to a song a lot", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it's settled in your head", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "works very well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also there's a kind of quantum jump after listening to a song off and on for a week or so..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "maybe it's subjective but for me after several days", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it kind of sits more deeply in the mind", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I can get to grips with it more easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other option is to have some cues written on a card, maybe just the structure of the song etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "That brings me to another point which is to try and visualise the \"landscape\" of the song - eg", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is it verse chorus verse chorus wird bit chorus (repeat to fade haha) .. or something more unusual ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "hope this helps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 2 } }, { "sents": [ { "text": "My cello teacher suggests this method for memorizing sheet music: 1) memorize the music in your mind, as sound 2) memorize the music as written on the page 3) memorize the physical motions (in my case, bowing and fingerings) 4) merge the three memorizations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This may not apply directly to lyrics, but it's worth a shot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 2 } }, { "sents": [ { "text": "What I do is: Compose the song", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play it some times, so to be able to play it without much thinking", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "write it down", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(as tab/notes whatever)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(this helps me if I forget something after some time) Play it again and again on a daily basis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think the last part is the most useful of all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You just have to play the song(s) over and over and over to remember them.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "This will take some time, but it will work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have a lot of songs and you get them mixed by mistake when you play, start off by writing them down and then for a few days just play 3-4 of them.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Then for some days play some other songs etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, it might help to remember a pattern of the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like a small drawing that your fretting hand is doing while playing the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This has helped me memorize songs as well", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 2 } }, { "sents": [ { "text": "I like to write down my music in tab notation software such like Guitar Pro or Tuxguitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Over time the collection of your own stuff will grow, and if you can browse through your songs simply by playing them back, it's a pretty good solution for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9626/strudelkopf", "score": 2 } }, { "sents": [ { "text": "I've found that using a different notated representation can help.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular, sheet music often makes it hard to see the wood for the trees; the amount of detail can obscure larger patterns (repeated or trivially different phrases, elements of form, etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "in lyrics, melody and harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The act of actually creating one or more \"song maps\" at coarser levels of detail helps me to notice these patterns if I haven't already.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then using them in rehearsal along with the sheet music helps me to remember them afterwards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll see if I can dig up an example of one I've made before and add it later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/817/shambulator", "score": 2 } }, { "sents": [ { "text": "Practice.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Not trying to be snarky, that's really just what needs to happen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Additionally, I find it helpful to try to dispense with sheet music as soon as possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing songs as quickly as you can (even ones that are meant to be slow) helps force internalization.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the main thing is practicing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no substitute for that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9639/imallett", "score": 1 } } ]

{ "question": "I've been googling and, unfortunately, coming up short in search of techniques, methods, systems or just simple tricks for how to memorise songs. I'm currently on a writing spree (I play the guitar and sing over it) and have found that it can be hard to keep everything in order in my head. So what I'm looking for is any and all tips on how to learn multiple songs, but also how you can efficiently go about learning each of them.", "title": "Tricks and techniques for memorising songs", "forum": "music.stackexchange.com", "question_tags": "<guitar><voice><accompaniment><lyrics><songwriting>", "link": "music.stackexchange.com/questions/15642", "author": "music.stackexchange.com/users/6870/nyaray" }

[ [ "There are a number of option for learning multiple songs. Using cue cards is one. Writing them down and practicing 3 or 4 of them over a number of days is another. Write down your music in tab notation software such as Guitar Pro or Tuxguitar. In the end, you just have to play the song(s) over and over and over to remember them.", "One way to learn multiple songs will be simply to practise. However, other things that could help include writing down cues or parts of music or learning some music theory." ] ]

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[ 0 ]

[ [ "Learning some musical theory may help solve this problem.", "Writing down different cues or parts of music can help you to learn multiple songs.", "One way to better remember songs is simply to practise." ] ]

[ { "sents": [ { "text": "In the middle of a song, it's difficult to tell if it's major or minor - at that point, it could be on any chord, major in a minor song, vice versa, and going somewhere else anyway !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just stick to the last chord in a song to get the question answered.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If recognising one chord in isolation is not easy, you need more exposure to blends.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Get a friend to play and try to feel if it's a major or minor chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Experience will help a great deal.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Try to understand the difference between C maj and C min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C maj and Amin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some songs will appear to be minor and end up major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is 'Fly me to the Moon' maj/min ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "Can you find the root note?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start with the root note and sing Doe a Deer.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "If \"deer\" sounds sharp or off then the piece is in minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9774/John Wu", "score": 4 } }, { "sents": [ { "text": "In some degree it is possible to learn by training, but you need to have some chord-capable instrument and be able to get known chords out of it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Try to compare C versus Cm, E versus Em, A versus", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Am etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pick the middle of the sound range, not too high and not too low.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After some practicing it should be possible for you to tell them apart.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Minor chords always sound way more sad and romantic for some reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You do not need to identify all individual notes for that, you also do not need to separate between same type of chords (C from C# for instance)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that is much more difficult task.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8737/h22", "score": 3 } }, { "sents": [ { "text": "This might not be the answer if you've never had any interval ear training, but it would be good to add it here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What I usually try to look for is a V-I drop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a lot of songs, it is used to determine the scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In some classical pieces, it used somewhere in the beginning of the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For instance, if the song is in C harmonic minor, there would be a G - Cm drop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whereas, if the song is in C major, there would be a G-C drop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That would help you understand the scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Εxample:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In C major and C harmonic minor scales, the V chord is the same.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's G-B-D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, if I hear a G and then a C/Cm, I would know that the song is in C major or C harmonic minor scale respectively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "@AlexanderTroup, my teacher played a lot of V-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I's on the piano, some where minor and some major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That was my ear training material.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(There were more chords, not just V-I).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is quite often seen as: IV-V-I (and in jazz, II-V-I)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, in some more complex songs, this might not exactly point out the scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 2 } }, { "sents": [ { "text": "I'll elaborate on Tim's note from the above answers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First learn your relative major and minor keys.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "These are the major and minor keys that have the same key signature; the relative minor is always a minor third (3 half steps) below its relative major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, look at the key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which major or minor key are we talking about?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's say the key signature has no sharps or flats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is therefore either A minor or C major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, look for two things in the first few bars of the piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do they center around an a minor chord or a C major chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, look for a G# occurring a lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a raised 7th tone in a minor and is very common.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you see it, chances are good", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you're in A minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you don't, you might still be in A minor, if the music still centers around the A minor chord instead of the C major chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that a lot of music bounces back and forth between relative major and minor in the same piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's very easy to set up, and adds interest to the music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best example of this that I can come up with off the top of my head is \"O Little Town of Bethlehem\" (the original American version of the tune, not the vapid Vaughan Williams \"adaptation\" of a British folk tune which the British inexplicably prefer to use).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The piece is in a major key, but the part that goes \"but in thy dark streets shineth the everlasting light\" is in the relative minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9399/BobRodes", "score": 2 } } ]

{ "question": "I have a hard time figuring out if a song with a certain key signature is major or minor. I know some sound minor and are and some sound major and are but some sound opposite of what they actually are(major sounds minor and minor sounds major). How can I tell if any song is major or minor?", "title": "Hard to tell major from minor", "forum": "music.stackexchange.com", "question_tags": "<key-signatures><key>", "link": "music.stackexchange.com/questions/15866", "author": "music.stackexchange.com/users/9749/Caters" }

[ [ "To recognise if a song is in major or minor key, the first thing to do is learn your relative major and minor keys. After some practicing it should be possible for you to tell them apart. Experience is the key here. More practice makes for better recognition.", "To tell whether a song is major or minor, the main element will be to simply practise. However, learning your relative major and minor keys will also help. Then, you might want to try starting with the root note and singing \"Doe a deer\" to help further." ] ]

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[ [ "Simple practice will be beneficial in being able to identify whether a song is major or minor.", "Starting with the root note and singing \"Doe a Deer\" could help to identify whether a song is major or minor.", "You should start by learning your relative major and minor keys." ] ]

[ { "sents": [ { "text": "Play the manual parts on piano or keyboard while you sing the pedal part (fixed-do solfege can be useful here) and move your feet on an imaginary pedal board.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I have learned relatively easy pieces this way and performed them without having had much time with an actual organ.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even for a Bach fugue, though, if you can sing the pedal part while playing the hands it will be much easier to add the actual foot action.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17187/musarithmia", "score": 2 } }, { "sents": [ { "text": "Don't know where you live, but here in U.K. the old style of organ (2 manuals, pedals), come along on occasions for little money.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I bought one for £10 sterling, just for the pedalboard (although the 2 12\" speakers were a nice bonus).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can find room, this is a good option, as pretending won't tell you when you've hit a wrong note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There may only be one octave of pedals, rather than two, and they'll be parallel, not radial, but that's got to be better than none.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To practise an instrument and improve, every day is the way to go.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even if it goes in the garage, bedroom, whatever, it's better than the once a week you're doing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "I find that moving my feet as if there were a pedal board, when practicing on a piano, for example, helps.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It engages the learning centre of the brain - not as much as if you had the real thing, but better than not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing the Organ is hard - it will take a long time to get proficiant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have you got pedal exercises to do?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "working through them will teach your legs different pedaling techniques, and increase your accuracy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are there any other churches/organs in the area that you can get some practice at?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many churches are more than happy to let people practice on the organ.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9396/7thGalaxy", "score": 1 } }, { "sents": [ { "text": "The cheapest solution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take a cardboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Draw the keys on it (of the original size).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least, You can be confident with coordination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I used this method (however, for hands), when I needed practicing piano pieces written for the grand piano on my upright piano (which doesn't have some keys at the top).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's enough for studying a piece on the first stages, but anyway You have to practice in the real environment, especially the closer the concert / competition is to take place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually that is sufficient even to become a laureate of the competition, if You really desire (written from my personal experience).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just a side note: Sergei Rachmaninoff used \"silent\" keyboard (\"немая\" клавиатура) during traveling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Cardboard Piano : Perkins's \"cardboard piano\" derives from an incident (...) about the celebrated composer Sergei Rachmaninoff who practiced on a silent piano while crossing the Atlantic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9553/Dmytro Dzyubak", "score": 1 } }, { "sents": [ { "text": "buy a flexible midi pedal board from china.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It can be folded and you do not need space.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just spread it on the floor when needed and connect it .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will need a midi adapter to usb and of course a computer with sound output connected to speakers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Definately midi software.lots out there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24297/don", "score": 1 } }, { "sents": [ { "text": "I would often just picture the foot pedals in my mind and move my feet to an approximate point on the floor.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The mental effort of coordinating the foot movement along with everything else is worth it even if you don't have access to a real foot pedal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that pedal distances are not the same from one organ to the next even if they're the same type (radial vs parallel)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so the \"muscle memory\" required is different than for the hands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually, you should get to a point where you can sit at any organ and spend no more than 5 minutes getting familiar with the foot pedals then you're good to go.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/171/chabzjo", "score": 1 } } ]

{ "question": "I only get about an hour-and-a-half's access per week to practice on a 'real' organ. Needless to say, my progress at pedalling is painfully slow. Are there any ways to practice pedalling without the pedals (I used to practice touch-typing by shutting my eyes and just imaging)? And if not, is there a way to make my practice sessions more productive?", "title": "Practicing pedalling without pedals, or maximizing real practice efficiency", "forum": "music.stackexchange.com", "question_tags": "<organ><keyboard-pedals>", "link": "music.stackexchange.com/questions/15936", "author": "music.stackexchange.com/users/9796/Benjol" }

[ [ " Moving your feet as if there were a pedal board, when practicing on a piano may help with organ pedal practice. Alternatively, buy a flexible midi pedal board from China.", "To practise without a real organ, you could move your feet to play imaginary pedals whilst singing the pedal part. Alternatively, you could consider buying a flexible MIDI pedal board from China." ] ]

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[ [ "Moving your feet to play imaginary pedals whilst singing the pedal part is considered a good practice technique when you don't have access to a real organ.", "You could consider buying a flexible MIDI pedal board from China." ] ]

[ { "sents": [ { "text": "Accidentals override key signatures and previous accidentals.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The circled chord has two G# and and one C# note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having \"additive\" accidentals would make it very hard to read music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this excerpt, the next octave chords in the top staff would then be B-flat, then B-doubleflat, and then either G natural (if adding to the previous accidental) or or G double flat (if adding to the key signature)...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3300/nonpop", "score": 10 } }, { "sents": [ { "text": "The chord played is Amaj7, made up with A C# E and G#.The key sig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is Db/Bbm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess that the G# is shown instead of a possible Ab, which is technically correct for that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All accidentals over-ride the key sig., for the rest of the bar they're marked in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes the author will be helpful and remind the player that a particular accidental is not needed in the next bar by using another accidental,which can get confusing !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any accidental will show the actual note to be played, not just sharpening a flat, for example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that key sig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ",the", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gb is changed to a G# with an accidental.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't 'sharpen the flat' to make it a G natural.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 10 } }, { "sents": [ { "text": "As has been mentioned in other answers, alterations are not relative, they're absolute.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So a sharp makes the note sharp, regardless of the alteration it had due to the key you're playing in; so if the key states Ab and you suddenly see an accidental sharp on an A, you play A#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same goes for the inverse case.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I just wanted to add that there is a sign to remove an alteration: the natural.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your example includes the natural sign in the second chord on the treble clef; that one is used to \"neutralize\" a sharp or flat,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you play B natural there (which is what you were thinking the sharps did in the first chord).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2230/Chochos", "score": 5 } }, { "sents": [ { "text": "The key signature is always secondary to any accidentals next to the note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the chord you circled you would play a G#, C#, and another G# instead of a Gb, C, and another Gb.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "They never cancel each other out", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "just play what is written.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 3 } }, { "sents": [ { "text": "Accidentals take precedence to any alteration from the signature.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Moreover, they apply until the end of the bar for every pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If there is a G# in a bar, then, until a new accidental or the end of the bar, all the following Gs on the same octave should be played sharp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8577/Édouard", "score": 3 } }, { "sents": [ { "text": "The key signature is not overridden.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is just a chord borrowed from a different key and the accidentals continue until the end of the measure unless otherwise noted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9868/TheBluegrassMathematician", "score": 1 } }, { "sents": [ { "text": "As noted in the other replies, accidentals are \"absolute\", with the meaning unfazed by preceding material or key signature.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There is one exception: when \"weakening\" a previous double accidental (key signature or previous in the bar), the resulting single accidental is often printed combined with an immediately preceding natural sign.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23316/user23316", "score": 0 } } ]

{ "question": "I am wondering how the accidental in the first chord (see what is circled) is played? Does any accidental simply move the note up or down a half-step from what the note is supposed to be based on the key signature or does it override the key signature all together? Specifically, is the accidental G# played as a natural G (since G is already a flat in the key signature - thus a half step up) or actually as a G#?", "title": "Do accidentals override key signature and previous accidentals?", "forum": "music.stackexchange.com", "question_tags": "<notation><key-signatures><accidentals>", "link": "music.stackexchange.com/questions/16024", "author": "music.stackexchange.com/users/9859/Angela" }

[ [ "Accidentals override key signatures and previous accidentals. All accidentals over-ride the key sig., for the rest of the bar they're marked in. The key signature is always secondary to any accidentals next to the note.", "Accidentals are absolute and take precedence over any key signature or other alteration. In the example provided, the G would be played as a G#." ] ]

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[ [ "Accidentals are absolute and take precedence over any key signature or other alteration.", "In the example provided, the G would be played as a G#." ] ]

[ { "sents": [ { "text": "For a given instrument (violin, viola, cello, bass is more complicated), the tuning of a fractional size instrument (1/16, 1/8, 1/4, 1/2, 3/4 are commonly seen, 7/8 used to be frequently called \"lady's cello\") is always the same as the full size instrument.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "viola is a bit complicated because professionals have different sizes (15', 16', sometimes 17' for body length, remove about one inch for string length), so that one refers to the body length and string length (the last one being the more important for buying strings).A good rule for chosing one's viola size is : are you able to confortably stop on each string the first tone after the empty string with the index as well as the fifth interval with your little finger ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(For the A-string : try to stop a B and a E, for the C-string : try to stop a D and a G).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The size matters for the sound, but a lot less than the quality of construction.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A good violin maker will change the internal measurements, the position of the f-holes, to maintain the best body resonance for the intended tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have played several good 1/2 cellos that sounded a lot better and more powerful than ordinary full size ones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only reason to buy a fractional size is the age and body measurements of the player, not the sound.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 4 ] ] }, { "text": "Also make sure that the player will have time to play and study say two years on this instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is not about economy, just so that he/she will develop enough is ear and finger skills, so that the transition to a larger one will be really easy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48/ogerard", "score": 8 } }, { "sents": [ { "text": "3/4 means three quarters size as opposed to full size.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "The tuning can be the same, but the scale length is different, which means string length and tension (and thickness) are different.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "So while you use the same techniques, the finger positioning will vary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason for these different size instruments is the difference in tonal quality.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The resonant frequency of the body will be different between two instruments of different sizes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 5 } }, { "sents": [ { "text": "Usually the three-quarter or other smaller than standard violins are for younger, smaller children.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 4 ] ] }, { "text": "A full sized violin would be way too much for a three or four year old to handle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The bow is appropriately smaller, as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The spoken lengths of the strings are obviously in proportion, and a child will have to re-adapt when it grows big enough for the next size violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most adults would, I believe, use a full-size 4/4 violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "In the bass world, size matters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ":)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Very few players use a full size bass (it's huge), except some orchestral players.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The standard size is ⅞, and ¾ size basses are popular, too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9337/Robert Fink", "score": 2 } }, { "sents": [ { "text": "1/4, 2/4... 4/4 are instrument proportion measurements.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "A child will often play in a 1,2 or 3 quarters of original size (4/4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally a professional instrument is a 4/4 size.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The term 4/4 is most used in Schools/Student context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What changes between them is the string length, and with that the space between fingers to tune properly.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "The proportion between instrument size and arm length is important for the hand to have a good ergonomic position and reach naturally the fingers place.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 4 ] ] }, { "text": "The size of the instrument means also a weight difference.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 5 ] ] }, { "text": "a 4/4 violin is heavier than a 1/4 violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have seen many colleagues, playing for example viola, having to exercise the upper body so they can compensate the heavy instrument when playing many hours.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Last but not least, the bigger instrument the more resonance body and larger string wave length.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A 1/4 violin will not produce a open string tone as long lasting as a viola (which can be compared with a measure like 5/4 or 6/4 of a violin).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can see it as a concert piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The longer the tail is the better sound you will get.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6511/Sergio", "score": 2 } }, { "sents": [ { "text": "The tuning is always the same.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "The \"3/4\" fraction of full size is approximate, as a moment's websearching reveals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Intonation is easier on larger instruments, because less precision is required.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Sound is louder from larger instruments: larger resonating body, more energy imparted to the string.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Tone is better on larger instruments, because a longer string's harmonics align more closely to its fundamental frequency.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(That's why a piano is tuned in \"stretched\" octaves: its ideal bass strings would have to be dozens of feet long.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All these generalities assume that the instrument is not so large as to be uncomfortable to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8794/Camille Goudeseune", "score": 1 } } ]

{ "question": "In the string family, you can buy instruments that are described in fractional sizes, like 3/4 violin. Is the tuning always the same, no matter the size of the instrument?Why is the instrument size important/what difference does it make? Also, what does the term 3/4 or 4/4 mean? Example : 4/4 Violin Maplewood", "title": "Why does bowed string instrument size matter?", "forum": "music.stackexchange.com", "question_tags": "<bow><orchestral-strings>", "link": "music.stackexchange.com/questions/16344", "author": "music.stackexchange.com/users/5839/Ivan Ivković" }

[ [ "The reason for these different size string instruments is the difference in tonal quality. Sound is louder from larger instruments: larger resonating body, more energy imparted to the string. Tone is better on larger instruments, because a longer string's harmonics align more closely to its fundamental frequency. The tuning is always the same. The only reason to buy a fractional size is the age and body measurements of the player, not the sound. ", "The tuning of an instrument is always the same regardless of size. However, the size can impact other things such as tone, weight and intonation. \"3/4\" and \"4/4\" are instrument proportion measurements, and fractional sizes normally are used to cater for the body measurements of the player." ] ]

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[ [ "The size of an instrument can have a big impact on the sound and tone that the instrument produces.", "Intonation is easier on larger instruments.", "The tuning is always the same regardless of the size of the instrument.", "\"3/4\" and \"4/4\" are instrument proportion measurements.", "Fractional sizes exist to suit the measurements of the player.", "The size of the instrument will also impact the weight of the instrument." ] ]

[ { "sents": [ { "text": "Views from a native German speaker, just having looked at a text booklet: the vocabulary used in the cantatas is slighty dusted, but still easily recognisable.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A few words are dated and some have strange umlauts, where the modern counterparts have none.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess in the church context one would notice fewer substantial changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without knowing which solists Gardiner had available, I would warn against taking the pronounciation too seriously, however - even well-known singers struggled astonishingly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 6 } }, { "sents": [ { "text": "The texts of Bach's Church music are in Early New High German (Frühneuhochdeutsch).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is actually very different from modern standard German.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10141/fdb", "score": 2 } }, { "sents": [ { "text": "There are fairly good translation websites out there, for example http://www.bach-cantatas.com/Texts/IndexTexts-Eng3-BWV.htm", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm native in both languages", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it's actually a bit easier for me to read the English translation than the original German.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's dated and very \"church-centric\", i.e. uses phrasings and terms that are solely used in religious context.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As such it would NOT make good learning material.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3252/Hilmar", "score": 2 } }, { "sents": [ { "text": "Presumably, the differences between modern German and the language used in Bach's Cantatas, when considering its usefulness as a tool for learning the language, is less significant than the rather specific nature of their subject matter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As much of the cantatas are based upon liturgical texts, using them as an aid to learning German, would be like learning to speak and read English by using the King James Bible!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For this reason, I would imagine that useful, conversational German might not be improved as readily by studying these cantatas, as by using more conventional methods.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, as a means to understanding the differences between modern German and 18th Century German (and earlier German…), you could have a really interesting area of study.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, it is worth noting that the German used in the cantatas is itself from a number of different eras.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Text from Bach's 18th Century contemporaries is set alongside the text of the Luther Bible (translated from Hebrew into German in the early 16th Century) and chorale texts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As soon as I read your question, it reminded me of the central character of Aldous Huxley's Brave New World , who learns English by reading Shakespeare!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 1 } }, { "sents": [ { "text": "Some observations: Poetry written for use in church hymns has a rather restricted subject matter and vocabulary to begin with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And in any language, the difference between rhyming poetry and regular speech is always quite different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "German has changed quite a bit since Bach's time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular, German vocabulary, though not the grammar, has changed dramatically just in the last 75 years, since the end of World War II.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since that time, German-speaking people have adopted a great deal of English words and \"Germanicized\" them (\" eingedeutscht \") to replace traditional German words.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is no doubt because of all the trade and cultural influence from the United States and England as Europe was re-built after the war.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think there's certainly no harm in studying Bach's texts to help you learn \"classical\" German, but realize that the vocabulary of Bach's day is not the same as the vocabulary used today.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } }, { "sents": [ { "text": "Bach's cantatas are essentially standard German.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Where he uses direct Luther text citations as lyrics, you may have some Early New German, but far and wide it is pretty much indistinguishable from slightly stilted Modern German.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Definitely quite more similar than even Shakespeare's Early Modern English is compared to Modern English.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you should be fine with modern dictionaries and learning material.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pronunciation is also modern, and one doesn't try to put a Saxonian accent to it either: that would be considered a strange regionalism.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 0 } } ]

{ "question": "My German is very rudimentary (A1) and I have no regular exposure to the language except what I get listening to Bach. Recently, I have been very interested in Bach's cantatas (I have a huge box set by Gardiner) and I am in the habit of looking at the text with translation as I listen. I'm curious about the German that Bach used and how it compares to modern everyday German. Is it good learning material for me?", "title": "German in Bach's Cantatas", "forum": "music.stackexchange.com", "question_tags": "<j-s-bach>", "link": "music.stackexchange.com/questions/16583", "author": "music.stackexchange.com/users/10189/fadiak" }

[ [ " A native German speaker, just having looked at a text booklet says the vocabulary used in the Bach cantatas is slighty dusted, but still easily recognisable. There is no harm in studying Bach's texts to help you learn \"classical\" German, but realize that the vocabulary of Bach's day is not the same as the vocabulary used today. Other people, however, consider it is actually very different from modern standard German. They also warn against taking the pronounciation too seriously, as even well-known singers struggled astonishingly.", "It is not clear whether the German used in Bach's Cantantas is considered good learning material or not for modern German, but it would not be advisable to use them as a guide for pronunciation." ] ]

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[ [ "It is not clear whether the German used in Bach's Cantantas is considered good learning material or not for modern German.", "It would be unadvisable to use Bach's work as an indicator for pronunciation." ] ]

[ { "sents": [ { "text": "When you lower the pitch by releasing tension, there might be slack in the gears in the tuning machines, which might make the string go below the intended pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By going further down and approaching the target note from below, there will be force applied to the gears and when you've reached the correct pitch the gears have less potential to move.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So your teacher is correct.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8682/Meaningful Username", "score": 48 } }, { "sents": [ { "text": "Yes, as the strings are kept under tension better.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It works with all stringed instruments (inc. piano!), for the same reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, somehow, it seems easier to hear a note coming up to pitch rather than approaching it from above. '", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We're tuning up'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 11 } }, { "sents": [ { "text": "There will often be some friction at various parts of the tuning linkage, as well as at the nut (where the string passes over).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At some points, including the nut, things may bind slightly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think about what would happens if the string is binding where it passes over the nut, both in the \"tightening\" and \"loosening\" cases.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the string binds where it passes over the nut while the player is loosening it, then the portion of the string between the peg and the nut may be at lower tension than the main sounding portion of the string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each time the string is plucked, its tension will be momentarily increased.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consequently, even if the tension difference at the nut wasn't sufficient to cause slippage while the string was resting, the act of playing the string might cause it to slip at some inopportune time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If, by contrast, the last action was to tighten the string, then the portion of the string connecting the peg will if anything be tighter than the sounding portion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's not \"enough tighter\" to overcome friction when the string is resting, it will be even less inclined to move when the main string is drawn more tightly (reducing the tension difference).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although it's easiest to visualize the above behavior happening at the nut, it can also happen at other parts of the mechanical linkage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the peg might bind slightly such that it would stay put (at least for awhile) even if the worm cased to exist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ideally, the tuning gear would always ride against the worm, but if the peg binds, it might not turn to loosen the string unless or until the worm pushes it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one turns the worm enough to turn the peg 0.4 degrees, but the peg binds after turning only 0.3 degrees, then one would initially hear the string's pitch as though the worm had been tuned 0.3 degrees, but if the peg slips (as it likely would at some point) the tuning would change by an extra 0.1 degree.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a principle, what's important is not whether the pitch of something is being raised or lowered, but rather whether one is pushing something in the direction opposite where it wants to be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For most instruments, that would represent raising the pitch, but some electronic instruments which are tuned by adjusting inductors work in the opposite direction; I wouldn't be surprised if some mechanical acoustic instruments do so as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 7 } }, { "sents": [ { "text": "Yes, because that is the way that the gears in tuning machines work best.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 4 } }, { "sents": [ { "text": "Yes... on all the above.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Plus, in case it isn't mentioned in there somewhere, when a new string is a little sharp you might want to give it a gentle tug outward to make it flat, and then tune it up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way, if there's any looseness at the peg end, you can get rid of it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10209/jackster12", "score": 2 } }, { "sents": [ { "text": "Yes, your teacher is very correct there.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When you tune down, it outside slack on the strings, and gears!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means your guitar's tuning may go below the level you wanted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to avoid tuning down, I recommend purchasing a chromatic/guitar tuner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This helps you to reach near perfect pitch, so you should tune down less.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13675/telefan77", "score": 2 } }, { "sents": [ { "text": "The easiest way to understand this is to consider the gears connecting the tuning knobs to the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you \"tune up\", the surfaces of the gears are in contact the entire time and cannot loosen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you \"tune down\" the gears engage in the oposite direction and could leave a gap that closes due to the string tension while you play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This would cause the string to detune down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although this is a simplification, it hopefully demonstrates the concept...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23588/Memphis B Hound", "score": 1 } }, { "sents": [ { "text": "The only time I would not tune up from below is if the string had been tuned way too high already for whatever reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that case, after you tune the string down, it will tend to creep up a bit afterwards because of material memory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tuning it from above will help counteract this effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That said, this is only really applicable to certain materials- metal strings have practically no memory, nylon strings somewhat more, and gut strings a whole lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the occasions when I would tune from above on a guitar are pretty limited.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best general policy, as has been said here, is to tune from below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I however do this quite often on the gut strings of my harp, and it helps considerably.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } }, { "sents": [ { "text": "There s backlash in the gears.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Poor gear meshing causes \"slippage\" although the teacher is correct its not strings per se but poorly machined, or fitted worm gears.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You tune up and its tight \"in tune\" hit the string or pull the string and the tuning pole will turn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Slightly, but enough to cause it to drop out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Happens all the time on cheap keys you can even feel it if there s excessive backlash.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A gap on fine incremental movements if the key needs quarter turn to reach desired pitch when you know your pitch hovers at the threshold and it requires a large movement to get there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your tuning keys are the problem!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "not the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All other things being equal such as thermal coefficients, mechanical integrity plays a major role.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/45439/tony", "score": 1 } } ]

{ "question": "I used to have a guitar teacher that said you should always finish tuning each string by tightening/sharpening the string. So for example if the top E is a little sharp, you should turn the peg to make it flat and then tune it up to the right pitch, as opposed to just turning the peg to the right pitch from above. He claimed that the increase in tightness as opposed to loosening from above kept the string in tune longer. Is this true?", "title": "When tuning a guitar, should you always end with tightening the string rather than loosening it?", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><strings><string-instruments>", "link": "music.stackexchange.com/questions/16587", "author": "music.stackexchange.com/users/6629/Alexander Troup" }

[ [ "It is correct that you should always tighten the guitar string a little when you finish tuning it.", "Yes, you should always end string tuning by tightening rather than loosening it" ] ]

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[ [ "Yes, you should always end string tuning by tightening rather than loosening it" ] ]

[ { "sents": [ { "text": "As humans, we're not naturally inclined to play music in time .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our speech while rhythmic at times is vastly more complicated rhythmically than the majority of music out there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just check out this article by Steve Vai in which he talks about polyrhythms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He talks about how one of the toughest challenges he has ever faced in music is transcribing speech.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But what does this have to do with metronomes?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm glad you asked, other Alex.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well, our minds and ears are flexable to the complicated sounds of the world.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We're not naturally used to the constant pulse of set tempos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our heartbeats are variable, and slow and speed in phases, and there's not really that much in the natural world which exerts a constant audible tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, when we try to play a steady tempo without a metronome, what we will actually do is slightly speed up, slow down, and compensate when we fall behind the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As soon as a group of musicians trained in such a way gets together, everyone will be in time with themselves, and out of time with others(I've been there, it's not pretty).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Enter the metronome.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The metronome is constant, unyeilding.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It does not forgive, it does not forget.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you play 50 ms out of time and there's a metronome there, you can hear the difference, and it's not the metronome's fault that you were out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing to a metronome makes you consistent.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It makes every one of the people playing along consistent, and it enables players to develop a sense of timing to use while they play with themselves and each other.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It can also help you with playing faster, and more accurately quicker, see these questions: Technique or exercise to play this part from a song which i'm stuck with", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find myself making the same mistake when practising - despite focussing on that part- how to remedy?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a parting note I'd say I never used to practice with a metronome, and my skill went up rapidly as soon as I started doing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Getting into the habit of practicing with a metronome is a huuuuuuuuge benefit in both the short and the long run.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope that helps :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6629/Alexander Troup", "score": 8 } }, { "sents": [ { "text": "A metronome can do several things.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If a piece has a metronome marking, it can give you some idea of a composer's (or often an editor's) idea of how fast it should go.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Also, it can give you an idea of whether your tempos through a piece are consistent.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Especially when you are beginning to work on a piece, you can find that you are playing easier sections faster than harder ones without realizing it, and your tempo can get inconsistent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A metronome will point this out to you in a hurry.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It can give you a sort of benchmark on how well you are coming along with a difficult piece as you are working it up.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "It's especially useful in this last regard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try putting the metronome on at a speed where you can practice the entire piece without making (many) mistakes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll be surprised to see how slow some easier parts sound when you're trying to play them at the same speed", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "as more difficult parts elsewhere, at a tempo slow enough to accommodate the tougher sections.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, all that said, be very careful NOT to overdo it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You have to always keep the music in mind before the notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you just try to get the notes without playing the music, you'll find that you have trained your hands to play the piece unmusically.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(\"Metronomic\" is a criticism of a performance that sounds too slavish in its adherence to a tempo, to the point that all the music is squeezed out of it.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The further along you are with the piece, the less useful the metronome is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can always use it to \"spot check\" your tempos;", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "see if you're playing the whole piece faster than you think you are, see how consistent your tempos are from section to section, and so on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9399/BobRodes", "score": 4 } }, { "sents": [ { "text": "Two additional points beyond BobRodes's answer For using the metronome as a gauge for progress with specific agility/speed exercises: e.g. taking a given exercise and increasing the metronome rate each day for a period of time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Focusing on listening to the click is a basic step towards being able to listen to other performers when in an ensemble situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 3 } }, { "sents": [ { "text": "In relation to the last part of your question, yes, it's directly related to time sigs.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "There are metronomes which can be set to 'ping' on beat one, whether the time sig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is 2, 3 4 5 or 6 on the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you can hear when each new bar starts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tempo can also be used as a good guide, in that, say it's 80 b.p.m.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- if you wanted, you could set 160 to give a tick twice as quick, which sometimes helps to keep you in time better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you got pretty good, you could go down to half speed, 40 b.p.m. and work harder to keep in time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B.p.m.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "incidentally, is beats per minute, in other words, how many ticks the metronome will sound in one minute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "60 b.p.m. =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "one tick per second.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having said all that, I still prefer to have a drum track playing to keep time to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably used to playing with real drummers for many, many years...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "When I practice with the metronome I often imagine the ticks are on the off-beats, so if I were counting out loud \"one and two and three and four and\" then a tick would fall on each \"and\", rather than on a number.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you don't already do this, you have to try it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The skill in this is that you must mentally construct the unheard on-the-beat tick.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With practice you can mentally flip between hearing the tick on the beat and off the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's like the rhythmic equivalent of one of those optical illusions where you can interpret what you're seeing in more than one way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Further practice with this is to play tuplets against the off-beat tick.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is hard(!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but worth while.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 1 } } ]

{ "question": "I heard that anyone who received theoretical education in music should use a metronome to practice their timing. But I don't know how does a metronome help me? Or even how would better timing help me? Also is it related with beats,and time signatures?", "title": "How does a metronome help me play music better?", "forum": "music.stackexchange.com", "question_tags": "<technique><practice><metronomes>", "link": "music.stackexchange.com/questions/16833", "author": "music.stackexchange.com/users/10265/user139024" }

[ [ "Playing to a metronome makes you consistent. It makes every one of the people playing along consistent, and it enables players to develop a sense of timing to use while they play with themselves and each other. If a piece has a metronome marking, it can give you some idea of a composer's (or often an editor's) idea of how fast it should go. Also, it can give you an idea of whether your tempos through a piece are consistent. It's directly related to time sigs.", "Firstly, yes, use of a metronome is related to time signatures. Playing with a metronome can provide numerous benefits, but mainly it will help you play at a consistent tempo in line with the intentions of the composer. It can also be a great way of keeping track of your progress." ] ]

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[ [ "Playing with a metronome will help you play at a consistent tempo in line with the composer's intention.", "A metronome can provide several benefits.", "Playing with a metronome can be a good way of keeping track of your progress.", "Yes, use of metronome is related to time signatures." ] ]

[ { "sents": [ { "text": "I've compared my fancy Korg multi-temperament orchestra tuner to various tuner apps available for Android on my Nexus 4, and I prefer the box every time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's got much better sound detection, and because it's a fancy (and expensive) one there's no issue with support for reference pitches and temperaments (although all I regularly need is A440, A415, equal temperament and Vallotti's temperament).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, I suspect if my phone had a better microphone the apps could be just as good", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and they're certainly fully capable of producing what seem to be accurate reference tones to tune that way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So really it's down to your experience, your phone hardware", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and if you've already invested in a tuning box with the capabilities you need.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you've already got a smartphone and its microphone is up to the task, an app is going to be a lot cheaper - provided you keep it charged, anyway!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1479/Matthew Walton", "score": 9 } }, { "sents": [ { "text": "I personally experienced no difference.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If the app is able to pick up your violin's sound, its frequency display will have roughly the same precision as a tuner, tuner/metronome combination.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Advantages of an app: always at hand often more flexible (tuning frequency, display variations) Advantages of a device: may be more intuitive to use no hesitation to hand over to fellow musicians cheaper to replace if dropped to the floor and crashed unshared power source, so better chances to be still sufficient (kudos to Matthew for that)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My favourite Android (newly available for iOS also) app is PitchLab, but your mileage may vary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 8 } }, { "sents": [ { "text": "One advantage of a dedicated clip-on tuner is that it can detect vibrations coming through the body of the instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A smartphone app uses a microphone that hears not just the instrument, but also lots of other ambient noise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The clip-on tuner can use the cleaner signal coming directly through the instrument, and so may be less prone to responding to ambient noise or may be effective in a noisy environment in which a smart phone app would not be able to cope.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10638/jbyler", "score": 4 } }, { "sents": [ { "text": "The microphone of the smartphone is optimized for speech, not for music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Its supported frequency range is the vocal range of the average human talker, not a professional singer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As narrow as 300 Hz to 3500", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hz only was declared \"optimal\" in the past, while now it may be wider.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hence the microphone may not be picking very low or high frequences well enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From the other side, if the instrument is loud enough or its not an 8 octave piano after all, this still may work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As long as the sound is picked, the frequency indicator should be reliable.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It is at the end backed up by the internal quartz oscillator of the device.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However there are many possible bugs and design flaws that would make a tuner app inaccurate or not working at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Simply counting ups and downs per second may result inaccurate reading due distortions and background noises.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if a good program can be written for a tuner, such a program will probably run on a smartphone also.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a result, you probably need to try multiple applications and do not rely blindly on them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the familiar melody seems sounding out of tune, it probably is, even if the smartphone tuner suggest otherwise!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8737/h22", "score": 3 } }, { "sents": [ { "text": "Smartphone tuner apps are pretty solid.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I have a specialized tuner that is 3-4 years old that has been having a hard time picking up acoustic sounds as of lately.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I bought a smartphone tuner app to tune my harpsichord and it worked like a charm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have experience with Cleartune for Android.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are benefits to having a dedicated tuner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For instance, if the instrument that you're tuning is electric, or acoustic-electric, you can plug it in to some tuners and tune it even if there is noise in your vicinity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the smartphone tuner, any additional background noise may get picked up and make it harder for you to tune your instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9131/MrTheBard", "score": 2 } }, { "sents": [ { "text": "A Tuner for Android 'Claims to be most accurate https://play.google.com/store/apps/details?id=jp.nokubi.nobapp.atuner.basic Auto & Manual Sensitivity Change accuracy levels Strobe rotation & in tune color I found that alot of the tuner apps actually have a 5 cent tolerance (meaning they say in tune but really not) a Guitar thats set up properly falls into a stable tune like a magnet & most app tuners", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "get you close enough the pitch goes in tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another tuner I invite people to try out is Quantz Tuner / see your sounds", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://play.google.com/store/apps/details?id=com.QuantzTunerFree See your sound with this real-time, quantitative music visualization app.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After trying alot of tuners, I have noticed alot clamp onto a certain piont in the pitch and reads that result.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think if your trying to set up an instrument or trying to adjust pitch competitions, might be better to purchase a real frequency tumer", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43711/Android phone", "score": 0 } } ]

{ "question": "I play the violin, and have always tuned using a smartphone app. Today I came across this specialised (to a certain extent) electronic tuner , which got me wondering: How reliable are smartphone tuner apps, in the sense that why should I spend the money on a specialised tuner when an app seems to work just fine?", "title": "Are smartphone tuner apps reliable?", "forum": "music.stackexchange.com", "question_tags": "<tuning><violin>", "link": "music.stackexchange.com/questions/17347", "author": "music.stackexchange.com/users/10315/jon2512chua" }

[ [ "Most people consider that smartphone tuner apps are fairly reliable. Although some people do believe that tuners, like the Korg orchestra tuner are better. The important thing is that the smartphone is able to pick up the sound. ", "Whilst some people would prefer a dedicated tuning device, it is generally accepted that a smartphone app will work just as well." ] ]

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[ 0 ]

[ [ "Some people prefer to buy a dedicated tuner.", "In general, it is considered that a smartphone app is likely to be good enough." ] ]

[ { "sents": [ { "text": "No, there is absolutely no risk.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You may have seen such amplifiers being stacked on stage during festivals/concerts, and those burdens can get heavier than what you weigh.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just make sure you're not hurting your ears by being too close to your amp when it's turned up to eleven.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6524/Lee White", "score": 9 } }, { "sents": [ { "text": "Depends on how heavy you are and where and how you sit.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Amps are designed to be stacked corner-to-corner, and a cheap combo amp might be weak in the middle of the case.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That said, I used to sit on mine almost every time I played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm only 120 pounds though...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10177/Jasmine", "score": 7 } }, { "sents": [ { "text": "I wouldn't think you'll break your amp - but you can get loads of hum with your guitar that close to the amp, especially if you're using overdrive.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And, it's unlikely to be very comfortable!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're going to be using it in a place where there is a chair available, I would use that instead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 3 } }, { "sents": [ { "text": "Normally you can sit on your amp, but if I were you, I wouldn't do it, ill just sit in front of the amp, to have the best sound return.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10849/Kalmh", "score": 2 } }, { "sents": [ { "text": "I would generally say that there is no risk to your amp by sitting on it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This case could be a little different since you are using a relatively small amp", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I still doubt that you would be able to break it unless you are significantly heavier than the average person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also imagine that you would be pretty close to the ground, which I would find uncomfortable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6685/Basstickler", "score": 1 } } ]

{ "question": "I just bought a 1x10\" Marshall combo guitar amp, and I've read in articles that many guitarists sit on their amps. Is it okay to sit on it? Is there any chance of breaking it as a result?", "title": "Is it okay to sit on guitar combo amplifier?", "forum": "music.stackexchange.com", "question_tags": "<guitar><maintenance><amplifiers>", "link": "music.stackexchange.com/questions/17681", "author": "music.stackexchange.com/users/9248/seseorang" }

[ [ "Most people consider there is no risk in sitting onyour amp.", "It is generally agreed that it is OK to sit on an amplifier and there is no risk of breaking it." ] ]

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[ 0 ]

[ [ "It is generally agreed that it is OK to sit on an amplifier and there is no risk of breaking it." ] ]

[ { "sents": [ { "text": "It'll depend a lot on your son's musical taste as to what he's likely to be inspired by, but try to find music that shows off the recorder both as a solo instrument and working with other instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So some of the baroque sonatas by Handel or Telemann - which are also quite accessible to the intermediate player - would be a good starting point.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For something a bit more spectacular, Vivaldi's recorder concertos are impressive examples of what you can do with the instrument within its baroque domain, definitely for the advanced player but everyone can enjoy listening to them, and how well the recorder can work with other instruments.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For another example of working with other instruments, Boismortier's \"4 Balets de Village\" give you a couple of recorders in the French baroque style, alongside strings, baroque oboes and flutes, hurdy gurdies and French bagpipes, all together in a chaotic mess that somehow comes out sounding coherent, exuberant and magnificent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's just so much of this stuff if you know where to look.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try the videos on charlottebarbourcondini.com - BBC Young Musician 2012 finalist, the first ever on recorder, she played Vivaldi's concerto in C minor in the final, and a variety of other pieces in the category final including Linde's Music for a Bird , which is one of the great 20th century pieces for solo recorder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also check out players like Pamela Thorby and Evelyn Nallen, and groups like Red Priest and the Amsterdam Loki Stardust Quartet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Evelyn's also found in the group Respectable Groove, playing in a very jazzy way on a very baroque selection of instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, your son may not find any of this inspiring at all, but I hope this provides you with something to start with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can find a lot of good stuff just by trawling YouTube, too - if you're prepared to listen to a lot of hideous terribleness in the process, anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know you said 'child-friendly', but I'm not really sure what that means", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I just gave you my usual selection of recorder music, because I'm not sure there's any such thing really.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I play in a group with some people I've played with since they were 12, and we've been on hardcore baroque consort music all the way and they love it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, they were already dedicated recorder players when we started the group...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1479/Matthew Walton", "score": 6 } }, { "sents": [ { "text": "At the risk of being declared off-topic, can I recommend that if your son shows a modicum of talent, buy him an Alto recorder - preferably a wooden one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The difference in sound is incredible, and it opens a new world of music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I took up recorder in my 40s, after a break of 30 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now in my late 60s, I have no intention of retiring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The recorder is a much underated instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is so much Renaissance and Baroque music out there (transpositions on Bach's Anna Magdelena notebook are very nice introduction).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Composers like Telemann, Veracini, Marcello and many others wrote excellent tuneful and challenging stuff for the recorder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can form a consort, and play recorder without needing to be at professional level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can start on descant, graduate to Alto, try a Tenor and learn to play Bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are rich you can buy a Great Bass and a Contra Bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then start rounding out your menagerie with a set of Renaissance instruments (A=415) and French", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Baroque(A=466)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Worlwide", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "there are regular recorder weeks, where you can recieve tuition, play with others", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "both in both small groups and a \"recorder orchestra\" - Gabrielli is a favorite for an orchestra.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd better sign off before the \"off topic\" police hit me...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10991/kiwiron", "score": 4 } }, { "sents": [ { "text": "There are many songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can get the suzuki books, they have different levels http://www.amazon.com/Suzuki-Recorder-School-Soprano-Volume/dp/0874875536/ref=sr_1_2?ie=UTF8&qid=1402425647&sr=8-2&keywords=recorder+suzuki here on level 1, there are like 30 songs (didn't count).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most of them are familiar and fun, teaching students technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I haven't played recorder for a while, but in my applied guitar class I went through the Suzuki series, they're fantastic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7027/Gᴇᴏᴍᴇᴛᴇʀ", "score": 1 } }, { "sents": [ { "text": "The book Red Hot Recorder is very popular with colleagues of mine who teach recorder (and their pupils, of course!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I must stress this is just one example book though - there are loads of others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 1 } }, { "sents": [ { "text": "Are you looking for something simple to play, that he can play along with, like this selection from Zelda: Or just something fun to listen to, like this Recorder Orchestra:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 1 } }, { "sents": [ { "text": "This one is a real inspiration to small children!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For older kids, check out more from the same (now adult)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lucy Horscht or the BBC Young Musician of the Year videos from 2012 (Charlotte Barbour Condini) and 2014 (Sophie Westbrooke) or the parallel BBC Jazz competition in 2016 finalist Tom Ridout.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each of those three beat all the other woodwind players to reach the final and have videos on YouTube which young teens love to watch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/38188/AnnFB", "score": 1 } } ]

{ "question": "My young five year old son is learning to play the recorder. I would like to let him listen to some music to inspire him . What child friendly music is there that features the recorder?", "title": "Recorder music to inspire a young learner", "forum": "music.stackexchange.com", "question_tags": "<recorder>", "link": "music.stackexchange.com/questions/20162", "author": "music.stackexchange.com/users/12075/Lembik" }

[ [ "Some of the baroque sonatas by Handel or Telemann - which are also quite accessible to the intermediate player - would be a good starting point for a recorder player. For something a bit more spectacular, Vivaldi's recorder concertos are impressive examples of what you can do with the instrument within its baroque domain, definitely for the advanced player but everyone can enjoy listening to them, and how well the recorder can work with other instruments. ", "Some child-friendly recorder music that could word as inspiration could be a baroque sonata by Handel or one of Vivaldi's recorder concertos." ] ]

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[ [ "Some child-friendly recorder music that could word as inspiration could be a baroque sonata by Handel or one of Vivaldi's recorder concertos." ] ]

[ { "sents": [ { "text": "This question got me curious, so I started googling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keyboard size is not officially standardized (there is no committee creating and enforcing standards), but in practice, there is very little variation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Browsing through forum topics on www.pianoworld.com, people measured 88 key keyboards from anywhere between 48 inches to 48 1/2\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wikipedia ( http://en.wikipedia.org/wiki/Musical_keyboard ) describes the width of an octave on a modern keyboard as 164-165 mm, which leaves almost a centimeter variation in width over the entire keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is also the option of buying a deliberately manufactured smaller keyboard, as described at http://www.smallpianokeyboards.org/keyboard-history.html .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This would have a width as small as 141 mm for an octave, or over 2 cm smaller than a standard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't play piano, but as a small handed woman, that sounds pretty attractive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Historically, from both the wikipedia and the smallpianokeyboards.org sites, older keyed instruments had octave widths as small as 125 mm, but not modern pianos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For piano-like instruments, such as midi-controllers and cheap electronic keyboards, smaller keys are common when manufacturers have goals other than producing a standard piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10353/Karen", "score": 30 } }, { "sents": [ { "text": "While I see no reason to dispute the answers already presented I thought I would follow up with posting the measurements that I proposed in my comment under the question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Measuring several keys near middle C with a calibrated digital caliper: 1915 Steinway Model M (New York) with original action: 22.1 to 22.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "9 mm (slight variance),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "+/-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "fractions of 0.86 inches 2002", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yamaha Model S08 88-note weighted-action synthesizer: 22.8 mm or 0.89 inches", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suspect the variance of the width on the Steinway is due to the 1915 tooling vs. computer assisted manufacturing of the 2002 Yamaha.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To get a more authoritative answer I have contacted an authorized Steinway tech that tunes my Steinway and restores them as well (wish I could afford that) to review this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pending his email answer, I will post an update later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "UPDATE June 30th, 2014:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It has come to my attention that the following answer would be more valuable to the community if I were to credit my source properly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have been reluctant to reveal my source these past few days as I did not want him to be subjected to unnecessary distractions (spam) or harassment from adversarial points of view.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I stated clearly last week \"protect my source.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have been in contact and we have reviewed our options on this post.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So without any further chit chat, I would like to introduce to you, John Callahan of Callahan Piano in the San Francisco Bay Area, a Steinway restoration specialist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.callahanpiano.com/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Please be nice to him, he gets it right every day from tuning to restoration and beyond.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"You are correct, 100 year old piano keys will vary slightly in width.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some of that is the original tooling and cutting (piano keys are sliced like bread from one piece of material) and some of the variance can be from wear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The keys at the far ends of the keyboard will be a good bit wider on an older, heavily played instrument than the keys in the middle of the keyboard, where the most playing occurs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" \"No standard width.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can measure many different pianos, and while they will all be within a fairly standard range, you will see differences.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same goes for the sharps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This also holds true for many other piano dimensions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keytop thickness, head length (distance from the player's end of the natural key to the cutout for the sharp), tail length, height of the keytop off the floor, height of the pedals off the floor, etc.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2076/filzilla", "score": 14 } }, { "sents": [ { "text": "Do other keyboard instruments have significantly different widths of keys?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Organs seem to have the same key widths", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I can't verify that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Accordions do vary - I can just reach a 10th on a piano but can easily get at least a 12th on an accordion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12190/ouchjars", "score": 4 } }, { "sents": [ { "text": "7/8\" appears to be the industry standard, but there is a slight (2 or 3%) difference occasionally.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some keyboards I think are slightly smaller, but can't access mine for a while, so can't measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not talking mini-boards here,which are made either for kiddies or for studio pro. use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Got a Yamaha keyboard here with 7/8\" keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think the main differences, which subtly affect things, are the length of keys and the amount that they get pressed down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That, and the different 'balance' feel, will make each piano different, but width-wise, not a lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "Do other keyboard instruments have significantly different widths of keys?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can speak from experience that melodica keys are significantly narrower than piano keys.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Where I cannot comfortably reach more than an octave on a piano, I think my range is more like a 10th on the melodica.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was surprisingly tricky to reprogram my fingers for the shorter scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can only imagine that an accordion would have a similarly-shortened keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In addition, Karen mentioned smaller keys on some midi controllers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here is an example of one such device, designed for portability.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 3 } }, { "sents": [ { "text": "My Evolution e-Keys mini USB piano keyboard has 17 mm wide naturals with 1 mm gaps between them so the center-to-center measurement is 18 mm, 5 mm less than what is normal on a piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The distance from the front edge of the naturals to the accidentals are 30 mm while on a piano this is 50 mm and on organs often 46 mm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21120/Magnus Johansson", "score": 0 } } ]

{ "question": "Is there a standard width for piano keys? If not, how much variation is there? Do other keyboard instruments have significantly different widths of keys?", "title": "Is there a standard width for piano keys?", "forum": "music.stackexchange.com", "question_tags": "<piano><keyboard>", "link": "music.stackexchange.com/questions/20290", "author": "music.stackexchange.com/users/9198/Bob Broadley" }

[ [ "Keyboard size is not officially standardized (there is no committee creating and enforcing standards), but in practice, there is very little variation. 7/8\" appears to be the industry standard, but there is a slight (2 or 3%) difference occasionally. melodica keys are significantly narrower than piano keys.", "There is no official enforced standard but there is likely to be little variation, with a common measurement being around 7/8\". With regard to other keyboard instruments, the melodica has signficiantly narrower keys than the piano." ] ]

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[ 0 ]

[ [ "There is no official enforced standard but there is likely to be little variation, with a common measurement being around 7/8\".", "Melodica keys have significantly narrower keys than pianos." ] ]

[ { "sents": [ { "text": "It's taken a year or so, but I use (don't ask why)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the opening note of Coronation Street (a British soap) that is a C note , the major 3 of Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Every time I walk past a piano - several times a day, I hum that note, then play it to check (much to my wife's amusement and disgust).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just done it now, and got in the crack to one side of the correct note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Getting better but not perfect yet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, yes, it can be learnt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some have perfect/absolute pitch, but we mere mortals put up with relative pitch, where we get a note and can pitch another from it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Again, a skill to be practised. With tuners as small as they are,or using a mobile, you could carry one around, and try a note every so often.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may take time, but it's a good way to bore your friends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "50 yrs ago - pre tuners, during caravan holidays, I used to drop a house key on a hard surface to keep guitars in 'concert pitch'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Daft, but it worked !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 12 } }, { "sents": [ { "text": "I had to learn Bach's Minuet for a piano class.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I played it so much that I remember the D", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I started on every time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also have a small vocal part in a song that I had to practice getting perfectly correct even if I can't hear myself at all, that starts on a D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now I'm pretty good at just singing, hearing a D and can sometimes identify other notes from this D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It takes some real training but just practicing different modes of making or hearing the note repetitively to really drill it into your head.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's still not always accurate of course, but it'll get better and if you don't have perfect pitch, it's something!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12118/Eichhörnchen", "score": 4 } }, { "sents": [ { "text": "\"Perfect pitch\" (the ability to sing and/or recognize a particular note) can be developed by some people, to some degree.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not everyone, and generally not as accurately as a tuner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The folks who are precise report that it may be more a handicap than a help, since they may be annoyed by any instrument that's tuned slightly differently.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know that I naturally tend to start some songs in D-minor, just because that's where my voice naturally falls.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That sort of thing, tapping \"muscle memory\" and the resonances of your own body, might be adequate for solo performance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As noted above, it isn't likely to be good enough for performing with others where you have to agree on a tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Electronic or mechanical tuners can be tiny and cheap.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tuner apps exist for most of the popular smartphones and tablets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suspect that if you care enough to want to be on the right note, you want to be on the RIGHT note, and are better off using mechanical assistance unless you want to spend lots of time practicing this skill that could be spent practicing the instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9381/keshlam", "score": 3 } }, { "sents": [ { "text": "You're asking how to remember a pitch", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ".It's more like remembering one pound by hand, than notes in music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Therefore you have to repeat the pitch as others answered: listen to a pitch, recall it by heart, listen, recall, ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's simple rote learning.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "http://en.wikipedia.org/wiki/Rote_learning", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For that matter if you tune an instrument every day, you would be aware of Hz difference rather than note difference although I can't say you will have one herz accuracy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/11047/lamusique", "score": 2 } }, { "sents": [ { "text": "Use a spectrum analyser (there's an app), that will allow you to correlate your natural tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "mine is 146hz..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "whats that, a D?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so i can read this value off on the analyser, and repeat recall until its lodged deep inside my neural pathway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50340/user50340", "score": 1 } }, { "sents": [ { "text": "The sensitivity to the relative pitch differences may depend on the absolute value of the pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Very low or very high notes are more difficult to recognize and tell apart, even if in still hear-able sound range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you have an instrument, try to experiment where approximately your individual ear is the most sensitive to the pitch differences, and then learn to remember the absolute frequency in this range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Simply play, record into mobile phone and use later as a ringtone and wake up signal in the morning.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8737/h22", "score": 0 } } ]

{ "question": "I'm wondering what ways there are to remember a note. For example, as a guitarist it'd come in handy if one can hum an E note so you can tune your E string according to it. Are there common techniques to remember a note? Or is it just practice and feeling?", "title": "Techniques for remembering a pitch without reference", "forum": "music.stackexchange.com", "question_tags": "<voice>", "link": "music.stackexchange.com/questions/20302", "author": "music.stackexchange.com/users/9626/strudelkopf" }

[ [ "It's simple rote learning. It takes some real training but just practicing different modes of making or hearing the note repetitively to really drill it into your head. One trick is to simply play the note, record it into mobile phone and use later as a ringtone and wake up signal in the morning.", "The most common technique to achieve this is probably just to practise. However, you could also consider recording a note as part of your ringtone to help you memorise it." ] ]

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[ [ "The most common technique is probably just to practise repeatedly.", "You could record a note as your ringtone on your phone." ] ]

[ { "sents": [ { "text": "You would think the German, French, and Italian 6th chords are so named by the historical context in which they first appeared.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(See also Neapolitan sixth chord, and the \"Tristan Chord\".)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, the more I research this, it appears the names German, French, and Italian are likely arbitrary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here are two citations that support this: 1) \"...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "theorists disagree on their precise origins and have struggled for centuries to define their roots, and fit them into conventional harmonic theory...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" source: http://en.wikipedia.org/wiki/Augmented_sixth_chord 2)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Why the national names?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No particular reason, it seems.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "But they had to be called something.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Frank, Suzie, and Jack would have done as well.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "source:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.ars-nova.com/Theory%20Q&A/Q38.html", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My recollections from undergraduate music theory (many decades ago) are that these were introduced in operas from each nation, but this appears wonky now.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However the \"Neapolitan\" 6th does have a specific origin:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"The chord is called \"Neapolitan\" because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa, and other important 18th-century composers of Italian opera\" source: http://en.wikipedia.org/wiki/Neapolitan_chord", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I found a summary of a book that details \"...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Augmented Sixth from Monteverdi to Mahler\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Mark Ellis, Kirklees College and Huddersfield University, UK): http://www.ashgate.com/isbn/9780754663850", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2076/filzilla", "score": 10 } }, { "sents": [ { "text": "The names Italian, French and German have a sure and certain origin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They were coined by John Wall Callcott in his \"A musical grammar\", oublished in 1806.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Or, better, he quotes the first (italian) from tradition, and coins himself the other two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Very simple!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65945/Federico Augusto Agostinelli", "score": 4 } }, { "sents": [ { "text": "Note that the French sixth contains notes belonging to a whole-tone scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Despite the strong temptation to draw a parallel to the French impressionist school, famous for their use of this scale (e.g. Debussy's Voiles ), I concur with the previous poster that this is most likely a coincidence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12098/ninemileskid", "score": 2 } }, { "sents": [ { "text": "in German they are named by the intervals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ü6,ü56,ü34", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(whereby ü = übermässig , that means augmented 6th Italian: ü6 = aug 6th German: ü56 = aug 5th6th French:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ü34 = aug 3rd4th", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "The term augmented sixth is ambigious to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes it refers to the 6th being augmented, and sometimes the 5th being augmented with a major 6th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are three types of Augmented 6th chord the German, the Italian, and the French.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dom asked Jun 18 '14 at 19:49 What about the conventional augmented sixth chords, which have a major 6th and an augmented 5th?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e.g. C-E-G#-A withfunctions R-3-5#-6 as can be played in C Lydian Augmented .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do you mean to ask why they are called Augmented 6th chords or why they are called German/Italian/French?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "–", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basstickler Jun 18 '14 at 20:59", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is interesting, though, that they call these chords augmented sixth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other augmented chords do not refer to the extension note being augmented: e.g. Caug7 which has an augmented 5th and a minor 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is there an alternative name for each that better captures how they are constructed?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dom asked Jun 18 '14 at 19:49 If we apply contemporary chord names based on enharmonics of the major scale: german: dom7 italian: dom7(no5) french: dom7(b5)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } } ]

{ "question": "There are three types of Augmented 6th chord the German, the Italian, and the French. Most chords are named for the intervals they contain or their function, but these seem like just arbitrary names for chords. Why are the augmented chords named for their respective countries and is there an alternative name for each that better captures how they are constructed?", "title": "Naming convention for augmented 6th chords", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory><history>", "link": "music.stackexchange.com/questions/20334", "author": "music.stackexchange.com/users/7222/Dom" }

[ [ "The names for the French, Italian and German chords were coined by John Wall Callcott in his \"A musical grammar\", published in 1806. \"The chord is called \"Neapolitan\" because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa, and other important 18th-century composers of Italian opera\" source: http://en.wikipedia.org/wiki/Neapolitan_chord ", "There is no agreement as to how augmented chords received these names, with some people claiming that they can from operas in their respective nation, and others saying that they were invented by John Wall Callcott in 1806." ] ]

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[ [ "There is no agreement as to how augmented chords received these names, with some people claiming that they can from operas in their respective nation, and others saying that they were invented by John Wall Callcott in 1806." ] ]

[ { "sents": [ { "text": "Tension and release.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The point of a leading note is often to give a feeling that it needs to move, as little as possible, to the tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As in G chord, dominant of C, contains B, which needs to move to the tonic", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C. A semitone move is used in this example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The F minor chord has F, Ab and C. To move as little as possible to the tonic involves the Ab going to G, the F going to E and the C remaining static.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the A-Ab-G move (F, Fm,C) is all going in the same, inevitable direction.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Ab works somewhat like the b9 in G7b9, as it pulls again in the same way .Another", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "example is the augmented chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G+", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "has G, B and D#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To move to tonic, the B goes a semitone to C, the D# a semitone to E, and the G remains static.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's all to do with getting as close as possible to the target.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A sort of magnetic attraction, where a tone away is too far to get a pull.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 20 } }, { "sents": [ { "text": "The chord progression for the introduction is: Am - C+ - C - D7 - F - Fm - C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, you can see it as Am - C - F - C (or vi - I - IV - I), and the chords in the middle are only chromatic passing notes, i.e. •", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the sequence Am - C you have (A,C,E) that goes to (C,E,G).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E and C are common to both chords and A and G are one tone apart.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Add a chromatic ornament in between A and G to obtain the note sequence A - Ab - G, and it may look like you passed through C+, but it is in reality just a passing note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "•", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Between C (C,E,G) and F(F,A,C), E goes to F through F#, and G goes to A through Ab, looking like you passed through D7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "•", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally to go form F(F,A,C) to C(C,E,G)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", A goes to G through Ab and F remains to go directly to E, looking like you passed through Fm", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way you can see that you are in the key of C all the time, and all strange notes are in fact chromatic passing notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Passing notes always create tension since they are not part of the chord and therefore create a dissonance (and chromatic passing notes create even more tension since they are not part of the key), which is released once they resolve to a note that is part of the chord, so concerning the specific part you ask about (IV-iv-I)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you have a simple plagal cadence with a chromatic passing note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course this is just an interpretation, but at least the way I learned analysis, the goal is to explain the harmony with as little chords and modulations as possible, as long as the remaining notes fall into the category of an embellishment note .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "DP", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12156/Dissident penguin", "score": 13 } }, { "sents": [ { "text": "I agree with the other answers that iv contains a chromatic passing tone that enhances the horizontal (melodic) structure.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "For a vertical (harmonic) perspective, iv is closely related to the neapolitan sixth chord (in this context, Db major in first inversion), a standard 19th-century substitution for IV or ii.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thinking this way, the substitution of interest is not Ab for A, but C for Db, which I think is easy to understand as a suspension or pedal tone carried over from the previous IV chord (and into the following I).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Zooming out, IV - I or ii - I is the plagal cadence, as @Dissidentpenguin notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Alternatively, the neapolitan chord is also a tritone substitution for V, so in this pop-music setting it might be appropriate to think of it as IV - V - I, using a tritone substitution for V with a suspension to boot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12098/ninemileskid", "score": 5 } }, { "sents": [ { "text": "You've already received several good answers, but I would like to add one thing that I consider important.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The progression in your question is a well-known example of a more general concept know as modal interchange .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Modal interchange is the borrowing of chords from parallel tonalities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The most common form of it, which can be found in thousands of pop songs, is borrowing natural minor chords for use in the parallel major key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In your example this means that you can use chords from C natural minor (such as Fm) in the key of C major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some other chords commonly found in songs in C major based on this idea are G minor, Ab major, and Bb major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you look for it, you'll start hearing the result of this concept almost everywhere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is also a great concept for melodic improvisation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 4 } }, { "sents": [ { "text": "I think what's happening is ..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your ears become accustomed to the C maj", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "key F is a nice chord to deviate to from C Fm is the same but the major note (A) is flattened from A to Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Kind of implies it's going somewhere but for that moment it sounds a bit out of place ..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally it resolves to a C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the Ab is flattened again to a G (5th of the C).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So your ears pick up the sequence A Ab G as it resolves to C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our ears \"want to\" hear sequences of notes and the initial flattening", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "fo the A implies something else is going to happen along those lines, with another flattening of the note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a similar thing to playing C, C7 then F. C has an upper-octave C as well (we assume, for this example)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C7 has that upper C flattened by a tone (Bb) F has the Bb flattened again to an A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your ears pick up the sequence C Bb A, which against a backdrop of chords that sound nice together anyway, seems to fit nicely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 3 } }, { "sents": [ { "text": "I would say that this common progression follows one of the 'rules' (descriptions of common practice) of harmony and modulation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "That is modulation to the parallel minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would say that the iv chord is 'borrowed' from the parallel minor key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then, the song modulates immediately back to the original major key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44708/Armadillo Bill", "score": 0 } } ]

{ "question": "An example of this is the song Nobody Home by Pink Floyd. The last line of the intro is, in a C major key: F Fm C % I think this sounds great, and in fact I often use such passages when improvising on the piano myself, but I still don't know how exactly this can/should be used, and what it means. Does anyone have any insights on this?", "title": "Why is IV-iv-I an effective chord sequence in a major key?", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-progressions>", "link": "music.stackexchange.com/questions/20392", "author": "music.stackexchange.com/users/6524/Lee White" }

[ [ "The IV-iv-I chord progression is a well-known example of a more general concept know as modal interchange . It follows one of the 'rules' (descriptions of common practice) of harmony and modulation. It contains a chromatic passing tone that enhances the horizontal (melodic) structure. ", "There are many reasons why this chord progression might work well, but one key reason may be the \"tension and release\" that is employed. Additionally, this progression follows the \"rules\" of harmony and modulation and is an example of modal interchange, thereby enhancing the harmonic structure." ] ]

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[ [ "This chord progression works well because of the \"tension and release\" that use employed.", "This common progression works because it follows the \"rules\" of harmony and modulation.", "This is an example of a modal interchange which enhances the harmonic structure." ] ]

[ { "sents": [ { "text": "Well, without any further context there is no possible distinction between a minor third and an augmented second as they are indeed the same note, technically.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, the phrases minor third and augmented second make reference not only to that space of three semitones, but also to the relationship that this interval plays within a given chord or scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since almost every scale known to the Western world has some form of third, a scale or chord with an augmented second would most probably have another kind of third as well, making the augmented second seem like an added dissonance in context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider this chord: C7#9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The #9 can be considered equivalent to an augmented second).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The naming convention of the chord assumes there will be a major third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the chord is 1, 3, 5, 7 and #9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The last note is not an essential part of the chord's structure, and will sound dissonant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you just have a C and a D#/Eb, it doesn't really matter whether you call it a D# or an Eb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But when you're talking about the role that note plays within another structure, then there are reasons for naming it an augmented second (to make clear it is not a minor third).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope this helps!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12266/Grey", "score": 14 } }, { "sents": [ { "text": "A key thing to keep in mind is that technically a minor 3rd and an augmented 2nd are different pitches (have different notional fundamental frequencies), at least in anything other than equal temperament.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In just intonation, these two pitches differ by approximately 40 cents ( list of intervals ), enough to make a perceptable difference in the degree of consonance.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "(Also note that some types of mean-tone temperament can also represent this difference).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus these different notes are different and have different harmonic behaviour in the context of a chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even in the context of music intended for performance in ET, notating the enharmonic notes in particular ways can provide the performer with information on the composer's intent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 8 } }, { "sents": [ { "text": "One reason is that if you're specifying an augmented 2, its probably because you have an augmented second and a major third in the chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "These notes are only a half step apart, and that is very dissonant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since we don't have, for example, a \"minor fourth\" interval, the third will always be major if an augmented 2 is involved.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess there could be exceptions, but if there isn't also major third in the chord, it would just be written as a minor third interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12118/Eichhörnchen", "score": 2 } }, { "sents": [ { "text": "It seems to stem not from the meaning that we attach to the words now, but the past.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consonant meant it sat well in the key, dissonant, the opposite.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, when WRITTEN in music, a minor 3rd belongs in a given set of notes, whereas a #2 is not found.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It appears to be more of a technicality than a reflection of what it actually sounds like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Turn a minor 3 upside down, and it's a major 6th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Supposedly consonant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Turn a #2 upside down, and it's a diminished 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both augmented and diminished intervals were labelled dissonant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "A sound example would make it much easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try this experiment:Play a Cmajor scale and some I-IV-V-I in this key, then suddenly play the harmonic interval C-D#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will sound dissonant in this context, the D# sounds like a leading tone to E (your brain will ask for solving it to E).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't need to have the C-E in the same chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is enough to have the key context in your mind-ear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then play a Cminor scale and some cadences in this key, suddenly play the C-Eb (actually same piano keys as C-D#).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this context they will sound consonant, that is the reason for different name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So they are different both in the writing and in the sound, in a tonal context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They only sound the same in atonal music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You would never find Beethoven mistaken D# for Eb in his written scores, but I wouldn't say the same for some common chord charts you find around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43100/Prox", "score": 1 } } ]

{ "question": "I am currently reading the Jazzology and on the chapter per the consonant and dissonant intervals I came across this statement: while a minor 3rd is consonant, an augmented 2nd is dissonant. (page 6) So my question is this: Why is a minor 3rd consonant but an augmented 2nd dissonant, since they --technically-- are the same note?", "title": "Why is a minor 3rd consonant but an augmented 2nd dissonant?", "forum": "music.stackexchange.com", "question_tags": "<theory><intervals>", "link": "music.stackexchange.com/questions/21910", "author": "music.stackexchange.com/users/7356/Shevliaskovic" }

[ [ "A key thing to keep in mind is that technically a minor 3rd and an augmented 2nd are different pitches (have different notional fundamental frequencies), at least in anything other than equal temperament. In just intonation, these two pitches differ by approximately 40 cents ( list of intervals ), enough to make a perceptable difference in the degree of consonance. One reason is that if you're specifying an augmented 2, its probably because you have an augmented second and a major third in the chord.", "Without further context, it's impossible to give a precise answer to this question. However, in just intonation, an augmented 2nd and a minor 3rd are in fact not the same note. Additionally, an augmented 2nd may be noted as such because it appears at the same time as a major 3rd, in which case, it would be dissonant." ] ]

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[ [ "It is difficult to provide a precise answer to this question without further context.", "In just intonation, these two notes are actually not the same note, though they are in equal temperament.", "One possible reason could be because the augmented 2nd could appear at the same time as a major 3rd." ] ]

[ { "sents": [ { "text": "The verse-chorus (sometimes with a bridge) form replaced the AABA 32-bar formula in popular music at around the sixties.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the 32-bar form replaced the strophic form (verses sometimes with a refrain) which most earlier folk songs were based on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it represents the current taste and is by no means timeless or universal, just a current tendency.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But repetition has been a part of music since as far back in history as we can see.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In order to not be bored, we need surprises.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Surprise implies unexpectedness.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without expectation there can be no surprise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Repetition builds expectation, contrast breaks it and provides the surprise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unsurprisingly, form in music is based on these two elements: Repetition and contrast.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, with current popular music, since you know where exactly the bridge (contrasting section) will start, there is barely any surprise now, hence the boredom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10708/cyco130", "score": 11 } }, { "sents": [ { "text": "Someone said that music is about the balance between surprise and the familiar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This balance is different for different people, some people want to hear new things all the time, while other want the same thing over and over.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The popularity of the structure in the question is likely due to that it's a balance that many people find pleasing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you find this formula boring, there sure is tons of music out there which do not follow this pattern.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8682/Meaningful Username", "score": 7 } }, { "sents": [ { "text": "Songs could be looked upon as poetry set to music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Poems traditionally consist of verses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually far more verses and few choruses, compared with songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Familiarity is one of the reasons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 'hook' - the catchy bit, is what lots of folk remember, and they like to be able to sing/hum/whistle along with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's often in the chorus, and if it only came once or twice, folks wouldn't have much chance to join in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, repetition is the name of the game with a lot of pop songs, so get in as many repeats as possible !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the song was verse-verse-verse, or chorus-chorus-chorus, it would be even more tedious.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus the format so many songs use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It does work - having been proved over decades.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it ain't broke...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 6 } }, { "sents": [ { "text": "Familiarity is comforting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Screw with convention too much and many people get uncomfortable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even an avant garde songwriter sometimes wants to make some parts of a song familiar and comfortable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I want to wow you with words and melody, I don't want to distract you too much from those with strikingly original structure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And yet, novelty is exciting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And that's why although this structure is common, it's by no means universal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I had asked your question, I would probably have written that the \"kind of boring\" familiar structure is: verse 1/verse2/chorus/verse3/bridge/chorus ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and of course there's plenty more variations, even in the most mainstream pop (I'm always struck by how Biology by Girls Aloud has no verses and about 4 different choruses...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1252/slim", "score": 4 } }, { "sents": [ { "text": "As cyco130 notes, this structure is based on alternating repetition and contrast.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Interestingly, the Classical Sonata-Allegro form is built in almost exactly the same way as the verse-chorus-bridge form, although the expectations for what each section contains are a bit different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start with some complete melodic phrase.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In pop music, this is the verse, in a sonata, it is your main theme: A Now add a contrasting phrase.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In pop music, this is the chorus, which tends to be more energetic than the verse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In classical music, this is the secondary theme, which is usually in a related key, such as the dominant, and often tends to be more relaxed: AB Now treat this entire segment as a unit, and repeat it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In pop music, this is the second verse: |:AB:| Now add another contrasting section.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In pop music, this is the bridge, which often modulates to a different key, and introduces new ideas.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In classical music, it is called the Development section, which introduces new permutations of previous ideas, and also typically modulates to more distant keys:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|:AB:| C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally, add some more repetition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In pop music, depending on the song and the lyrics, this can either be a full 3rd verse and chorus, or just the chorus (possibly repeated multiple times).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In classical music, this is the Recapitulation section, which doesn't modulate: |:AB:| C AB ||", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally, pop music might tag on a couple repeats of the chorus with a fade out, where classical music might tag on a Coda.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 3 } } ]

{ "question": "Doesn't matter if it's Rage Against The Machine or Britney Spears song structures are always the same. It always goes something like: Verse/Chorus/Verse 2/Chorus/Verse 3/Bridge/Chorus . Why? Why is this such an accepted structure? What's the draw behind this kind of structure? (I personally find the repetition kind of boring but it seems to be universally accepted.) Maybe this belongs on psychology SE instead...", "title": "Song Structure: What's up with Verse/Chorus/Verse 2/Chorus/Verse 3/Bridge/Chorus?", "forum": "music.stackexchange.com", "question_tags": "<songwriting>", "link": "music.stackexchange.com/questions/21960", "author": "music.stackexchange.com/users/10536/Mo." }

[ [ "S2: The popularity of the Verse/Chorus/Verse 2/Chorus/Verse 3/Bridge/Chorus structure is likely due to that it's a balance that many people find pleasing. ", "The popularity of this structure is probably due to the fact that it provides people with a pleasing balance." ] ]

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[ [ "The popularity of this structure is probably due to the fact that it provides people with a pleasing balance." ] ]

[ { "sents": [ { "text": "I think triplets are always 2/3 of the duration of the 3 notes regardless of the meter indicated by the time signature.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So a triplet of quarter notes will take up the space of a half note (or two quarter notes).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A triplet of eighth notes will take up the space of a quarter note (or two eighth notes). ...and so on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I pulled up some useful links in discussion, for further information: Counting Musical Triplets Triplets in 8-time signatures", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9877/Lee Kowalkowski", "score": 7 } }, { "sents": [ { "text": "Lee is right, but there is a simpler way to think of triplets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically we break notes up into sets of 2 (or duples).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, two half notes make a whole note, two quarter notes make a half notes, two eighth notes make a quarter note etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All a triplet is is putting 3 notes where 2 normally go.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So 3 eighth note triplets will always equal a quarter note or two normal eighth notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 9/8, you only have 4 pairs of eighth notes and 1 unpaired so you cannot have a whole measure of eighth note triples.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "You can have up to 13 eighth note triples, then you need something to take up the last 1/3 of an eighth note (aka a sixteenth note triplet).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 7 } }, { "sents": [ { "text": "The question has already been answered correctly by Lee and Dom, but I would like to add some pictures as clarification...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't have an example right now from an actual piece, though I'm quite sure I've seen something similar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anyway, it's not hard to come up with your own examples, so here's one which shouldn't even sound that odd: This should at least show that it is completely possible to have 8th note triplets (top staff) in 9/8 which are different from the triples (bottom staff) of 8th notes associated to the time signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can also see how it works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As has been said, you just cram 3 8th notes where two would go.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The following way of writing might make it easier to see: In the first beat you play three against two as usual for the first two eight notes, and then play one more eight note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, you can also cross beats like this:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This might be quite rare in general (and if the pattern continues, I would probably write the time signature for the top staff (or both staves) as (3/4)+(3/8)).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is certainly not exotic compared to a lot of contemporary classical music, though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3300/nonpop", "score": 6 } }, { "sents": [ { "text": "I suspect that there might be some confusion in the question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I see things, 6/8 is a way of notating a 2/4 rhythm whilst showing that there is a triplet beat; 9/8 is a way of notating 3/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I came to this backwards, hearing songs which I considered to be in 12/8 then discovering that they were notated in 4/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One can count songs both ways as the rhythm can be discerned on two levels: the 'outer' level having four beats to a bar, and the 'inner' level in which each beat is further subdivided into three beats (triplets).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4/4 is the 'outer' rhythm and 12/8 in the 'inner' rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8587/No'am Newman", "score": 2 } }, { "sents": [ { "text": "Think of 9/8 like this: 3/8 + 3/8 + 3/8", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So therefore 9/8 is basically a combination of 3 8th-note triplets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want the original triplets, you will have to go for 16th-note triplets for each of the 9 8th notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12823/Jimmy", "score": 2 } }, { "sents": [ { "text": "I would be curious as to see a real life example as to why this would happen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Time signatures at there core tell you how many beats there is in a bar and also what each beat consists of.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you take 3/4 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It tells you in essence that we have three beats of crotchets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you would take this and make a compound time signature you would basically put a dot next to the groups of crotchets giving you three groups of dotted crotchets or 9/8 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you take 3/4 and make a full bar of triplets you in essence also have nine notes but they are played slightly differently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You would have three notes played in the time of two, played three times in the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is slightly different to 9/8 where you just have 9 quavers in each bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They should be approached slightly differently although the playing has only a slight difference between the two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 0 } } ]

{ "question": "How do eighth note triplets work in 9/8 or 6/8 time? I know in 4/4 they take up the space of two eighth notes but haven't been able to figure out how they work in 8.", "title": "Triplets in 9/8 time", "forum": "music.stackexchange.com", "question_tags": "<theory><rhythm><time-signatures>", "link": "music.stackexchange.com/questions/22577", "author": "music.stackexchange.com/users/12878/user2489946" }

[ [ "All a triplet is is putting 3 notes where 2 normally go. In 9/8, you only have 4 pairs of eighth notes and 1 unpaired so you cannot have a whole measure of eighth note triples. ", "Triplets are simply when you play three notes where two would normally be. However, since 9/8 does not have an even number of notes, you cannot have a full bar of triplets in 9/8." ] ]

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[ [ "Triplets are simply when you play three notes where two would normally be.", "Since there are not an even number of notes in 9/8, you cannot have a full bar of triplets." ] ]

[ { "sents": [ { "text": "Try Pianoteq Stage for Mac or Windows.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It is exactly what you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It costs €99 or US $129.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Using a physical-modeling synthesizer, not samples, it really sounds like a grand piano -- in fact, you can choose between several different kinds of grand pianos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can download a free trial version.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you buy the more expensive Pianoteq Standard or Pianoteq Pro products, they permit you to modify many parameters of the piano sound to tailor the sound to your needs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Update:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I must stress, though, Pianoteq is a very specialized product -- a uniquely-designed digital synthesizer built from the ground up to emulate piano sounds, with a proprietary design.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can't make a convincing acoustic grand piano sound by manipulating parameters in any other kind of general-purpose synthesizer, in hardware or software.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Roland and Yamaha companies each make a hardware synthesizer-keyboard (called a \"virtual piano\") that emulates an acoustic piano without using samples, like what Pianoteq does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But these particular Roland and Yamaha keyboards cost US$6,000 and up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pianoteq runs on just about any Mac or Windows computer (Linux, too) and it's quite affordable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unlike grand-piano sample-based virtual instruments, it doesn't require gigabytes of hard drive space, a large amount of RAM, or a really fast computer to work correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 7 } }, { "sents": [ { "text": "A really great sounfont (sf2} is the Equinox Grand Piano.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can find it here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://d.hatena.ne.jp/Peka0815/touch/20131114/1384414160", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/34164/TheLight OI", "score": 3 } }, { "sents": [ { "text": "OK.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The sound in that video was not actually that excellent!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although, sequencing a piano can be just as detrimental to how it sounds than the sound quality itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Watch this video:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's doing what you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's using Virtual Studio Technology .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, he has a VST host installed on his computer that he can use to play VST plugin instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The VSTi you can hear in the video is the free CVPiano by TASCAM, which is based on a Kawai grand piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This and other VSTi's are available from sites such as VST4Free.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9877/Lee Kowalkowski", "score": 2 } }, { "sents": [ { "text": "Wheat's answer (Pianoteq) is certainly the best in terms of a high-quality commercial solution.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I've known people to tweak parameters in that (seemingly endlessly!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "to get exactly the piano sound they want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an alternative, I tend to worry less about quality, and just use free soundfonts, which are sample-based.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have several, but the only one whose name sticks in my mind at the moment (and which contains a decent sounding grand) is \"pianissimum.sf2\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Depending on what you're looking for, something like this might be acceptable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 2 } }, { "sents": [ { "text": "this is an 88-key online piano that you can connect to via MIDI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nothing to download or install.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The piano sound resembles that of a grand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://pianu.com", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A fast easy solution if you want to turn your MIDI keyboard into a grand piano!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64171/Matt", "score": 2 } }, { "sents": [ { "text": "Physispiano.comWe sell these in our store, totally scratch built modeled piano sound, user programmable.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I tune pianos for a living, these are the best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Takes a some hours to get it just the way you want using the software, (you get to customize every aspect) but the digital strings produce the ambience of real strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43877/Chris", "score": 1 } }, { "sents": [ { "text": "Synth programmers always tried to synthesize a piano sound, but they effectively gave up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nowadays any piano sound that you hear coming from a software or hardware synthesizer is sampled (meaning: recorded note by note) from a real piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's a VST I found by Googling: http://www.steinberg.net/en/products/vst/thegrand3/start.html EDIT", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Okay, I take it back after seeing Wheat's answer :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3497/marczellm", "score": 0 } } ]

{ "question": "I'm using MIDI keyboard with an external software synthesizer that runs on a computer. I want to make it sound like a grand piano. I want something like this . This example shows that it's possible to synthesize very nice grand piano sound in software, while all that i've tried resulted into \"chirping\" sounds more like the ones of an upright piano. Can you recommend some synthesis software / synthesizer parameters / soundfonts / ... to synthesize grand piano sound like the one in referenced video?", "title": "How to synthesize grand piano sound", "forum": "music.stackexchange.com", "question_tags": "<piano><synthesizer>", "link": "music.stackexchange.com/questions/22806", "author": "music.stackexchange.com/users/6252/yaromir" }

[ [ "To make a keyboard synthesizer sound like a grand piano try Pianoteq Stage for Mac or Windows, Equinox Grand Piano, or take a look at Physispiano.com.", "There is a range of different options available to synthesise a grand piano sound, such as \"pianoteq\", \"Equinox Grand Piano\" and \"physispiano.com\"." ] ]

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[ [ "There is a range of different options available to synthesise a grand piano sound, such as \"pianoteq\", \"Equinox Grand Piano\" and \"physispiano.com\"." ] ]

[ { "sents": [ { "text": "Yep, the second one is far better for precisely the reason you say.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A general rule is that you shouldn't have dotted-notes that start on an off beat and carry through the next beat.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "There are exceptions even to this rule, but showing the underlying beat structure of the meter is paramount in the vast majority of situations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Elliott Carter is an example of a composer that often violates this notational rule (sometimes using four beamed dotted notes, occasionally even crossing the barline), but this is for the specific purpose of notating multiple simultaneous tempos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even with that reason, an argument could be made that it isn't worth it due to the difficulty with reading it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9155/Pat Muchmore", "score": 28 } }, { "sents": [ { "text": "If you are referring strictly to music written obeying to traditional rhythmic conventions (with rational time signatures and regular/even division), then your second example is more suitable.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Please keep in mind that the first example is not wrong, but the second will make sight-reading much easier, as our own expectations when seeing a piece in 4/4 make us search for known beat patterns.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "One possible exception is the dotted quarter, which can be exchanged with a quarter tied to an eighth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the following fragment is orthodox regarding to rhythmic division, but is easy enough to read and can be more straightforward for those who are used to this kind of rhythmic figure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This exchange can be especially useful in 3/4 meter, when you want to avoid a 6/8 feeling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, in this fragment the continuous repetition of the pattern can lead, by assimilation, to that feeling of 6/8 (counting \"1, 2\" instead of \"1, 2, 3\"), as the dotted quarter is the time unit for such compound meter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Using, instead, will highlight the first, second and third beats, visually aiding the reader to not assimilate the beat pattern to a binary compound meter (well, I know it has also to do with beaming of the notes, but I think you got what I mean).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Pat Muchmore said, you can \"break\" these rules when working with unusual/irrational time signatures, free meter or other ingenious procedures (as is common with Elliot Carter's metric modulation , for instance).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In such cases, you are the judge of what is more suitable or appealing to what you are trying to accomplish.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6593/SeuMenezes", "score": 12 } }, { "sents": [ { "text": "Here's a common chart showing how the notes break down: Notice how each row is a full measure in 4/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The general rule is that a note can span its direct children, or one of its children and one of its nephews.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is, a quarter note can span the 2nd and 3rd eighth notes, but not the 4th and 5th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A dotted note can only borrow from its sibling, not its cousin, so a quarter note can span eights 1-2-3 or 2-3-4, but not 3-4-5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your first example has the 3rd eighth note of the bar borrowing from its cousin, the 2nd eighth note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So this is \"bad\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second way would be the proper way to write it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Note that there are always exceptions to every rule, but it's good to follow the rules unless you have a really good reason not to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 8 } }, { "sents": [ { "text": "The ideal is to keep each beat self-contained, so the second is preferrable.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In 4/4 it's certainly best to keep each half of the bar separate, so anything which goes between beats 2 and 3 are shown as tied.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's easier to read, and the ties actually make you aware that the tune is syncopated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same thing should happen in 6/8 too, which is effectively two halves of each bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some more modern composers and re-writers don't feel the need to do this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Change will happen slowly, but for now, at least, let's keep it easy to read - and probably easier to write (longhand at least).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's good to see the dots alongside tab, so the rhythm can be followed, not guessed !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "Correct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is a subjective component to this decision, but you generally want to keep the placement of the beat as clear as possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The rule of thumb is that when a note doesn't begin on a beat, it should not cross into another beat without a tie, unless the notation is simple enough (e.g. quarter, half, quarter) that there is no ambiguity in how the rhythm lines up with the beat.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18899/NoteNova", "score": 1 } } ]

{ "question": "Let's say I have the following piece in 4/4 , Should it be notated as: or Are there any specific rules? From my previous experience, I believe the second one is the correct notation since it shows all the beats in 4/4 , am I correct?", "title": "When to use a dot or a tie in music notation?", "forum": "music.stackexchange.com", "question_tags": "<guitar><theory><notation><sheet-music><rhythm>", "link": "music.stackexchange.com/questions/23039", "author": "music.stackexchange.com/users/7131/rexcfnghk" }

[ [ "A general rule is that you shouldn't have dotted-notes that start on an off beat and carry through the next beat. The rule of thumb is that when a note doesn't begin on a beat, it should not cross into another beat without a tie, unless the notation is simple enough (e.g. quarter, half, quarter) that there is no ambiguity in how the rhythm lines up with the beat.", "As a general rule, dotted notes shouldn't start on an off-beat. Therefore, the second example is correct in this case." ] ]

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[ 0 ]

[ [ "The second example is correct notation in this case.", "As a general rule, dotted notes shouldn't start on an off-beat." ] ]

[ { "sents": [ { "text": "Swap a string by putting your top string in place of the second.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you take it off carefully and put it onto the second post, and wind it more times, it can still go back on properly, although a new set of strings isn't extortionate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this string is still quiet, it's the pick-up, although it's doubtful all three have the same problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More likely it's the string itself - which you can check by putting it in place of the third string.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "An acoustic string just doesn't do it on an electric guitar, but it may look alright.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, simply get a new set of strings anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "Unless it is an acoustic guitar string (nylon or wound with non-magnetic material) or clearly not vibrating, it's the pickup that's broken: any wiring possibly connected to the strings is just to reduce hum, not change the signal level.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "The pickup reacts perfectly fine to an entirely unconnected string if it is an electric guitar string rather than an acoustic one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that the coils are usually wired in series, so if you still get sound from the other strings, there are rather few error scenarios I can think of: a) coil is shortcircuited.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This will most likely be purely mechanical: two items touching that shouldn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "b)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "magnet is dead and/or has fallen out or there is some other break in the magnetic connection in the pickup c)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "someone disassembled the pickup at some point of time, the pickup is a double-coil pickup, and one of the coils or one of the magnets was put back in reverse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Double coil pickups are intended to pick up outer magnetic fields in a manner that the voltage inducted into both coils cancels while the voltage induced from field changes done by the vibrating string to the field from the coil magnets adds up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Reverse a coil, and you pick up the noise and cancel the sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Reverse a magnet, and both noise and sound cancel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13147/user13147", "score": 4 } }, { "sents": [ { "text": "A guitar pickup in 99% of all guitars including strats is a single coil of wire which senses all strings at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some pickups use individual magnets for each string, a fender Stratocaster for instance, and some use a single magnet underneath the pickup but have metal slugs or screws directing the field of sensitivity towards the strings, such as a Les Paul.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is irrespective of whether or not the pickup is a single coil or a humbucker, but in most situations it ends up the way I described.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However some cheeper pickups such as those found on some squire strats do in fact use a single or double magnet underneath the single coil to create the magnetic field for the pickup to work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What I am getting at is that in all likelihood the fact that the pickup senses the other sttings would indicate that the pickup is perfectly fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without seeing the guitar i would guess the string is not resting in the slot properly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Most likely at the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the problem would be at the nut slot, then fretted notes would sound out well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So make sure the string is seates well and if the problem persists you may need to smooth some type of burr on the bridge saddle that occur sometimes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13158/smiley", "score": 2 } }, { "sents": [ { "text": "This happened to me but only on the G string of my middle pickup.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I took the pickguard off and there was a ground screw with a wire not connected to anything in the cavity right below the pickup.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The screw was evidently touching the pickup magnet and making it so it wouldn't sound when plucked.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65281/Steve", "score": 1 } }, { "sents": [ { "text": "This just happened to me:I thought it would be a good idea to clean the metal particles gathered on my pickup pole pieces with a strong “rare-earth” magnet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After doing this, I completely lost any pickup volume for my A string only.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I quickly realized it was because the magnet reversed the polarity of that one pole piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The solution:Touch the other side (other polarity) of the rare-earth magnet back to the top of the pole piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this happens to you, it’s ok if you get the wrong side at first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hope this helps someone out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/69298/pwurso", "score": 1 } } ]

{ "question": "I played a Squier Stratocaster last night, well, when I plugged into amp, which it's working, my guitar's second string didn't make any sound - well, a bit actually - but the rest of the strings sound normal. Is the problem is on the pickups' coil or the guitar wiring? When I tested the other pickup position (I used Hendrix-like middle+bridge) like bridge or even bridge, the second string still didn't make any sound.", "title": "Guitar: No sound from second string, but other strings sound normal", "forum": "music.stackexchange.com", "question_tags": "<guitar><instrument-maintenance>", "link": "music.stackexchange.com/questions/23091", "author": "music.stackexchange.com/users/9248/seseorang" }

[ [ "If a string on an electric guitar is not playing, it may not be resting in the slot properly. To test it, put it in the place of another string. Unless it is an acoustic guitar string (nylon or wound with non-magnetic material) or clearly not vibrating, it's the pickup that's broken: any wiring possibly connected to the strings is just to reduce hum, not change the signal level. ", "The problem could be with the pickup, but it is unlikely. The problem is more likely related to the string itself." ] ]

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[ [ "The problem is most likely to be the string itself.", "Unless there is a problem with the string, the problem could be with the pickup, although it is unlikely." ] ]

[ { "sents": [ { "text": "I think I know what you mean, I've faced the same issues from time to time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I understand you're not a professional singer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, a voice should become stronger over time as you train more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The muscles that control your voice will indeed get a bit stronger but to be honest", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think singing should be compared to weightlifting for example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's more about mental training and proper coordination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's still a big warning sign.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When somebody sings the voice should not deteriorate but instead it should improve and get warmed up over time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That alone tells me that it's likely that there's something wrong with your technique...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it could be anything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's common when someone overuses their voice that it feels \"tired\" for a sort amount of time afterwards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After all, if you're still not a pro singer you can't really know if you're singing right unless you sound good and face no problems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Until then you're just guessing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10085/user40079", "score": 4 } }, { "sents": [ { "text": "Singing is of course something requiring training and/or endurance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you ask \"how do I get to run a marathon\", the answer will involve lots of running.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That being said, if you are hoarse/strained after two or three songs, that's comparable about being shot after going up two stories of stairs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If that's your starting point of doing a marathon, either you are doing something quite wrong and/or", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you are woefully out of shape.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Just do more and it will come naturally\", just like with the running analogy, would appear to be reckless advice then without looking closer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try getting some actual supervision for a while.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It does not necessarily need to be one-on-one voice training: some choral work or basic singing courses might be enough to have somebody have an ear on you and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "have you avoid doing staggeringly counterproductive things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13191/user13191", "score": 4 } }, { "sents": [ { "text": "I have the same issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A friend of mine gave me a tip which helped me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try to sing from deeper down your throat.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "It is hard to explain, but basically, by doing so, you will stress your upper part of the throat less.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9975/Valentin Grégoire", "score": 1 } }, { "sents": [ { "text": "This might help, in my experience I've sang my heart out for a very long time and my vocal endurance slowly built up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've always heard you need to workout to be a good singer", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I had lifted weights for a while too", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but my progress to build vocal endurance was still slow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've recently (7 months ago) injured my wrists and I'm still recovering.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The doctor told me to I need to do aerobic exercise to help my healing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This was the key for my singing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After heavy endurance running and biking I started to see a large improvement in my vocal endurance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've heard from my vocal teacher in college that when the body gets tired, the voice is the first to be affected.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having high arobic endurance means it takes much longer to get tired.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Also check your diet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are certain foods that seem to produce mucus on the vocal cords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are eating these foods before you sing it would cause mucus build up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Singing with extra mucus is a sure way to wear your vocal chords out quicker.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hope this helps everyone out", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24561/Nairda", "score": 1 } }, { "sents": [ { "text": "Of course it takes time for your voice to get used to a lot of singing, but you can't compare it to running a marathon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You just don't get better by doing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You get better by knowing what you do, discover mistakes in your technique and directly working on those problems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your voice is strained after a few songs, you propably have a problem with your breathing, which is propably the most important aspect in singing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may feel that you don't push or force the notes, but the fact that your voice starts to crack that fast tells me otherwise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We could exchange a lot of tipps and how to do it right in theory, but in my opinion you won't get the results you want from a board on the internet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you really want to sing and don't want to ruin your voice, go get a vocal coach.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I know, they cost a lot of money, but it's worth it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The right teacher can help you improve your voice and your overall singing experience a lot, so it's worth the money, even if you are no professional.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24260/Matthias Nicklisch", "score": 1 } }, { "sents": [ { "text": "You feel tired because you aren't using your voice properly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do you use correct breath support?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are your muscles trained and strong?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are you singing according to your physical region (bass, baritone, tenor?).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To answer all these questions, and to reach your objectives, I recommend you to search for a good teacher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I found a great singing teacher and it changed my life forever.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can only get what we want if we dedicate and practice a lot (with correct supervision, of course).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope this helps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No shortcut is good in the case of voices.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can damage your own if you don't practice correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Believe me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24574/Raffael Bechara Rameh", "score": 1 } } ]

{ "question": "I have good technique. I'm self taught but I know all about singing and its techniques. I can use head voice and I'm comfortable with it. The problem I have is that I can't go through two or three songs without my voice starting to crack or just feeling tired. I don't force notes just so you know I try to sing as comfortably as I can. How can I build up my voice's strength so I can last through a whole concert?", "title": "how to build vocal stamina", "forum": "music.stackexchange.com", "question_tags": "<technique><voice>", "link": "music.stackexchange.com/questions/23161", "author": "music.stackexchange.com/users/12410/user3789596" }

[ [ "S6: If you really want to sing and don't want to ruin your voice, go get a vocal coach. Also you can try to sing from deeper down your throat.", "There are a number of things that you might want to consider to build up your voice's strength. However, the most effective will probably be to seek a vocal coach. Asides from this, you could try singing deeper in your throat or increasing your aerobic endurance." ] ]

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[ 0 ]

[ [ "You might want to consider getting a vocal teacher to get to the root of the problem.", "You might want to work on your aerobic endurance.", "You could try singing from deeper in your throat." ] ]

[ { "sents": [ { "text": "These days many musicians who play Baroque music such as Bach tune their instruments down to the lower pitch of A=415, which is exactly one half-step below the modern standard of A=440.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It is generally accepted by modern performers of early music in the historically-informed style that A=415", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "was the tuning that Bach himself used for the string pieces he composed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm quite sure that many examples you can find on YouTube are of a musician playing in A=415; furthermore, such a musician would be playing a specially-designed Baroque cello with period-correct strings made of sheep gut , not modern strings made of steel .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Such a \"baroque\" cello would be designed, braced and set up differently than a modern cello, and would use a different kind of bow as well, and would be played in a different style -- for one thing, using a great deal less vibrato than \"modern\" cello players use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Baroque cello with sheep-gut strings has a different sound than a \"modern\" cello.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is not as loud and cutting, but it has a character of sound that early music fans love.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The whole point of historically-informed performance is to try to use modern scholarship to go back to the sounds, instruments, and playing techniques that, to the best of our knowledge, were used by Bach himself, in contrast to playing on a modern instrument with modern strings and modern playing technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All this notwithstanding, if you want to learn to play Bach, you should tune your modern cello to A=440 and play it in the modern fashion with your modern bow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is what your particular cello was designed and built to handle, and it's perfectly correct to play your instrument in that fashion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know many professionals (mostly college professors) who own both a Baroque cello and a \"modern\" cello, and a variety of different bows built after the design of different historical periods (I know people who have six different kinds of bows!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and use one cello or the other depending on the orchestra they are performing with and the type of music being performed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These people, however, are deeply committed to early music; extra cellos and bows are very expensive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 7 } }, { "sents": [ { "text": "There might be a second question here, which regards the internal tuning of the cello strings, relative to itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cellos are typically tuned in fifths (C-G-D-A) of course, but there are pieces that require a different tuning (a technique called scordatura ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case, wikipedia mentions that Bach's 5th Cello Suite was written for a scordatura in which the A string was tuned down to", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G. However, no such mention is made of a similar technique being used in Suite No. 2, so I assume it is written for standard tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know if this was your question, but I figured it was at least worth mentioning the issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 7 } }, { "sents": [ { "text": "As MarkM pointed out, your claim is unsubstantiated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider further that \"concert pitch\" is not a fixed value.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the Good Old Days of Yesteryear, middle-A could be anything from 409Hz on up ( Wikipedia ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether any particular YouTube recording was pitch-shifted in postprocessing is unknown.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 3 } }, { "sents": [ { "text": "Maybe you could point out which videos you're listening to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Period tuning is sometimes lower than A 440, but from a random sample of top results in youtube I found: Mischa Maisky : Mstislav Rostropovich: Both squarely in D minor and A440 as I would expect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "Concert pitch depends on the orchestra.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My instructor tunes to 441, as do", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I. It also depends on the acoustics of the hall and the atmosphere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, many orchestras tune between 440 and 445 or 6.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I noticed that some European orchestras are tuned to 445.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "NY orchestras to 442 or 443.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Boston to 442.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "West Coast to 441 or 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Right now, I'm tuning to 441 for the Bach Cello Suites.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Here's a thread on the topic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why are orchestras tuned differently?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32827/Mark LaPolla", "score": 1 } }, { "sents": [ { "text": "I play the second suite with normal 440 pitch, and it sounds fine to me.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the fifth suite, I'm pretty sure you're meant to tune your C-string down to a D so that you can get the bottom note, but that's not what you were asking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/38283/Cello9", "score": 1 } } ]

{ "question": "None of the videos on youtube are is concert pitch.", "title": "How do I tune my cello to play the second Bach suite(prelude)?", "forum": "music.stackexchange.com", "question_tags": "<tuning><baroque-period><temperament><cello>", "link": "music.stackexchange.com/questions/23467", "author": "music.stackexchange.com/users/12329/clockley1" }

[ [ "These days many musicians who play Baroque music such as Bach tune their instruments down to the lower pitch of A=415, which is exactly one half-step below the modern standard of A=440. However, some musicians feel it sounds fine at 440 pitch whileothers tune 441.", "There is no clear answer to this question as it seems that cellists play Bach in a variety of tunings, from A=415 to A=440." ] ]

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[ 0 ]

[ [ "There is no clear answer to this question as it seems that cellists play Bach in a variety of tunings, from A=415 to A=440." ] ]

[ { "sents": [ { "text": "First remark: basso continuo is no real instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In history it was often played by one of harpsichord, chamber organ, dulcian/basson, viola da gamba/violoncello or lute/theorbo, but harp would also be viable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If not explicitly set for piano-like instrument one may encountered a figured bass, which consists of a single note and a number denoting the harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Expanding the number to chords, arpeggios or other ornamentation is an advanced technique, so you may restrict to the given notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The suggested euphonium is likely to cover (in the sense of being louder than) the violins, even if the range matches and so is unlikely to blend.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This disadvantage is shared in my opinion by the sax family and other brass instruments in that configuration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The viola is somewhat hard to substitute, since it is notated in the alto clef, which is very seldom for other instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So that part had to be adjusted to a different clef, possibly also involving transposition, one choice would be a second violoncello playing in the higher positions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The viola part is probably intended to fill the gap between melody and bass instruments, so it definitely should be less prominent than your melody instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since \"Queen of Sheba\" is quite popular, you may find ready-made settings for different ensembles easily, so you don't have to work it out yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 4 } }, { "sents": [ { "text": "As you can see in the following chart", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There isn't any instrument that has the exact range of the Viola .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This means that if you replace a viola with another instrument, you won't be able to play all the notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This doesn't mean that you cannot replace it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See the score you want and look at the highest and the lowest note of the viola part and find an instrument in the chart that can play them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That could be a violin, a flute, a hard or something.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the bass continuo you could try a Bassoon, a Baritone Sax or a Harpsichord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Again, look at the range of the bass score and you'll be able to figure out which instrument to use", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 2 } }, { "sents": [ { "text": "The lowest note of a Bb clarinet is a D, just a tone above the low C string of a viola.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This would probably be the best replacement, of the options you suggest, particularly as the warm, rounded tone of the clarinet will blend well with the other instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for the basso continuo part, a number of low instruments would be well suited to playing this part (your suggestion of Euphonium seems like it should have an appropriate range).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "But, be aware, a basso continuo part is usually played on a chordal instrument too, for instance harpsichord, expanding upon the bass line using figured bass notation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 2 } }, { "sents": [ { "text": "Lots of good suggestions here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I agree with Bob about the clarinet being a decent replacement for the viola.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Another possibility, not previously mentioned, would be the \"English Horn\" (or Cor Anglais), which would blend well with the oboes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Depending on how high the part goes, you might get by playing it on a bassoon (though, if you have a bassoonist, they should by all means play the continuo part!).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A French Horn would fit the range, but would probably be too overpowering, like the Euphonium.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A less-ideal solution -- but possibly worth considering if all else fails -- is to just drop the viola part (with apologies to violists!).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You would certainly miss the full texture, but unless there's a viola obbligato part in this particular piece, it's probably just filling out the full tutti texture in the orchestral sections.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Certainly an important (if thankless) job, but if you have a decent chordal instrument on the continuo (e.g harpsichord, piano, organ, guitar, etc...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "then they're hopefully filling in these chords as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "EDIT: I just read through the score, while listening, and I noticed that the viola part never goes below G, so it technically falls within the range of a third violin, if you have one available.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 2 } }, { "sents": [ { "text": "Basso continuo is not the name of a certain instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is a designation for a musical part that you can assign to one of several instruments in a kind of Baroque \"rhythm section\", comprised of one or more instruments that play chords, together with one or more instruments that play a bass line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the sheet music for the basso continuo part is always one staff of music with a bass line represented by notes, together with tiny chord symbols beneath the notes written in a type of notation called figured bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For continuo , you need either a keyboard-family instrument or a guitar-family instrument, and a musician who knows how to read the chord notation and improvise a chordal accompaniment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One euphonium can only play the bass line, not the chords, so that will not be sufficient.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Baroque ensemble might easily have four or five musicians playing the basso continuo part: for example, a harpsichord and theorbo playing the continuo chords together with a cello, upright bass and a bassoon playing the bass line in unison.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "At the very least you need at least one keyboard playing the chords and the bass line together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To that you can add a euphonium or some other bass instrument doubling the bass line in the keyboardist's left hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } } ]

{ "question": "I want to perform \"Queen of Sheba\" with some friends of mine. In my score I need two oboes, two violins, one viola and a basso continuo. Unfortunately I do not have neither a viola nor a basso continuo. Which instruments are suited for replacing them? I already was thinking about an euphonium for the basso continuo, is this ok? Which instrument is then well suited for replacing a viola? Clarinet, Trumpet?", "title": "Replacing Viola and Basso continuo", "forum": "music.stackexchange.com", "question_tags": "<performing>", "link": "music.stackexchange.com/questions/23665", "author": "music.stackexchange.com/users/9369/arc_lupus" }

[ [ "To play Baroque music, you can substitute the Viola with a Clarinet. The basso continuo could be replaced by a Bassoon, a Baritone Sax or a Harpsichord.", "There is no instrument with the exact range of the viola, but the clarinet might be a suitable replacement. Meanwhil, for the basso continuo, you might want to try a bassoon, a harpsichord or several low instruments." ] ]

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[ [ "There is no instrument with the exact range of the viola, but the clarinet might be a suitable replacement.", "For the basso continuo, you might want to try a bassoon, a harpsichord or several low instruments." ] ]

[ { "sents": [ { "text": "It really depends and most sound guys will tell you what they charge per gig.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Personally I would not go for the cheaper option, I would go for the better sound guy as a good sound guy", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "always makes you sound your best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may seem strange to pay a sound guy more then a member of your band, but really do a lot for band including: Setting up and tearing down equipment for you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Providing a sound check to adjust the sound for the room.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Providing monitors for musicians and being able to adjust them for you while preforming.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Mixing sound live and adding effects like delay and reverb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most typically have lights to enhance the the look of your performance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would talk to bands in your area to see if they have certain sound guys they would recommend (or avoid).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I look at it this way, while you probably can find a cheap sound guy a better sound guy will make you get more gigs and make your overall show better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 8 } }, { "sents": [ { "text": "I've been lucky enough to work with monitor and FOH engineers who were being paid multiple thousands of dollars per week.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The value they add is ridiculous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having to go back to standard house engineers or beginners is really painful after that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your sound guys are pretty much the most valuable item/thing/asset a touring band can have.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In answer to your question: Pay what you need to if the guy makes you sound great (offstage and onstage).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26565/Lyrical.me", "score": 3 } }, { "sents": [ { "text": "The sound guy is not a band member.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He may be friendly with a good attitude and have a cool job", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but: it is a job.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's not part of the musical creation process and unless he's been accompanying you to the studio and on residency for your show, there won't be much creative production on his side either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's not a producer (His salary is not dependent on the gigs revenue; as opposite to a manager or a booking agent who make a bet on you).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a profession , not a hobby.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's what he pays his bills with", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He'll be there long before and after the band members He works in the dark, not on stage with all the perks and glamour that may bring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I read somewhere something very interesting", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": nobody will have trouble hiring a musician who works part-time in a bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The general public knows how hard it is to make it as a musician.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But who will hire a sound engineer working in a restaurant to make ends meet?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No one, because he would be seen as unprofessional.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And if you think hiring professionals is expensive, hire an amateur and put him in front of your best customers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, standard rate is a minimum of 250 EUR per gig in Belgium (usually calculated on a 10hr shift) or 300 CAD (obviously in Canada).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44853/Matteo", "score": 2 } }, { "sents": [ { "text": "This isn't about 'fair shares', it's about what it costs to hire in sound gear and an operator.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Negotiate the best price you can for what you need.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If this is more than the whole band is making, consider going into the sound-hire business instead!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "I think the problem stems from the fact that most people think the \"sound guy\" or \"Technician\" is not part of the band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just because I'm not on stage and under a spot light doesn't mean I have any less part of creating the picture and vibe of the band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your instruments don't sound like any recording you'd buy today and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "my instrument ( Console and Speakers ) doesn't make any sound without you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "typically when you're putting together a band you try to get the best players you can because you know it makes a difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You need to consider the Mixer as part of the equation or part of the band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Someone in this thread said \" the sound guy is NOT the producer\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the traditional sense of the studio that sounds right on the surface, but I am doing this a bit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's very difficult if not impossible for a musician on a modern stage (especially with IEMs) to be cognizant of every aspect of the sound and music that is happening while they're trying to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I often will go to the stage and ask if a drum can be retuned to a different pitch or ask a bass player thin out a few notes in a couple bars because its fighting the floor tom part that's being played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll ask guitar players to back off reverbs or delays a bit because they're getting lost in the mix.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've had times where I'll tell the band leader a note that the keyboard player is playing is conflicting with a guitar part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes the band doesn't catch it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I won't do that on the first pass but if it happens a couple times in sound check and its obviously a mistake then I'll speak up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have the advantage of a kind of third person perspective listening to the whole picture.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One thing to keep in mind is a lot of the time the band (volume wise) is not appropriate for the venue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This effectively takes away the ability of the mixer to do his job.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A second part of that equation is most club systems are not adequate for the job.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What should you pay?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What should a pro baseball player get paid?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What should a rock star get paid?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's the same question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How good are they, what do they bring to the table?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a free market.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The idea that any of us is more or less critical to the process is just uninformed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a huge topic and these few words cannot address all the scenarios and nuance it deserves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These are a few things I've learned from doing this for 30 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/60975/DANIEL CANFIELD", "score": 1 } } ]

{ "question": "My band plays events in small and large venues like a bar to a bike night outdoors. We pay for sound at large events which they bring sound equipment to setup and tear down. is paying 30% of our pay is a little high. That would be $210 for a $700 gig with each of the four member making $122.50. Is this a typical fee for bands?", "title": "How much to pay sound person?", "forum": "music.stackexchange.com", "question_tags": "<sound><performing>", "link": "music.stackexchange.com/questions/23688", "author": "music.stackexchange.com/users/7049/r lo" }

[ [ "It is a good idea to talk to bands in your area to get recommendations for sound men. Negotiating the price is possible but you need to have an idea of the going rate for your area. ", "The answer to this question will be subjective and will depend on how good the sound man is. You might want to consider asking the opinion of other bands in the area. For reference, in Belgium, the standard rate is 250 EUR and in Canada, the standard rate is 300 CAD." ] ]

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[ 0 ]

[ [ "The answer to this question will be subjective and will depend on how good the sound man is.", "You could ask the opinion of other bands in the area.", "In Belgium, the standard rate is 250 EUR and in Canada, the standard rate is 300 CAD." ] ]

[ { "sents": [ { "text": "As @user13484 pointed out, the general concept of two (or more!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "melodies sounding together is counterpoint (\"note against note\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The term counterpoint is used when the melodies that are sounding simultaneously are independent and are more or less of equal importance.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Both rhythm, pitch but also timbre can be used to achieve independence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The term is about a technique or texture, and as such it may be applied to a section, or a movement or even an entire composition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Independence\" is not a matter of all or nothing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although the melodies might have a different rhythm, a melody might have the effect of emphasizing only particular accents of a main melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or although a melody might be playing different pitches, it might do so in an identical rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So in those cases, the extra melody is not truly independent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With regard to this piece, the parts that are entering at 0:15 do not really seem to carry a new or separate melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The new part serves mainly to give the piece a new rhythmic pulse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The head of the new part serves to accentuate and repeats the same pitch a few times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tail of the phrase basically mimics the main melody (it's not exactly parallel since the rhythm is slightly different, but the pitches are).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So there is a certain lack of independence, and I'd argue the parts also aren't equally important, which is why I would not call this true counterpoint.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd call this simply \"accompaniment\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "At 1:30 though, something starts to evolve that does sound like true counterpoint, first in 2 parts, and then at 1:45 in at least three.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here you can clearly here different parts that are independent in movement, curve, rhythm and pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8883/Roland Bouman", "score": 12 } }, { "sents": [ { "text": "Formally, it would be counterpoint, but since the music is not as a whole constructed in that manner, I'd just call it a countermelody.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13484/user13484", "score": 11 } }, { "sents": [ { "text": "Quodlibet ( Latin: “what you will”) musical composition in which several well-known melodies are combined, either simultaneously or, less frequently, sequentially, for humorous effect.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Quodlibet can also refer to an amalgamation of different song texts in a vocal composition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While simultaneous combinations of two or more melodies go back to the 13th century (motets using, for example, a chant melody and a secular tune), quodlibets were especially popular in the 15th and 16th centuries.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In Germany numerous instances are found in manuscript collections of polyphonic (multipart) songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Britannica.com:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Encyclopedia article about \"quodlibet\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21872/Tanti", "score": 6 } }, { "sents": [ { "text": "I think Mingus himself called this structure of melodies stacked on top of each other - in many of his pieces there are more than two, e.g. in Wednesday Night Prayer Meeting - a \"pyramid\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10031/Jan Johannsen", "score": 2 } }, { "sents": [ { "text": "In a general-usage sense, the word \"counterpoint\" could serve, though the word counterpoint names a very specific technical form that follows certain rules of construction.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Because of that, the two lines in Fables of Faubus fail to be \"counterpoint\" but are most definitely \"countermelody.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They could be called \"contrapuntal lines\" without raising the \"counterpoint pedant\" alarm. :)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I think the word \"mashup\" is a horrible way to describe/think of the concept.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a big difference between two melodies that were written to work together, vs a pair of melodies that when played together exhibit a serendipitous congruence often enough to be surprisingly pleasant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The thing is, a mashup is always countermelody, but countermelodies are not mashups.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21900/dwoz", "score": 1 } }, { "sents": [ { "text": "It may be better to use the term polyphony which could include counterpoint and fugues.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In music, polyphony is a texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice which is called monophony, and in difference from musical texture with one dominant melodic voice accompanied by chords which is called homophony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "SOURCE", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "This can be a Mashup.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A mashup is a song or composition created by blending two or more pre-recorded songs", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13492/Zato", "score": 0 } } ]

{ "question": "Is there any name I can use for two melodies that are being played at the same time? (The rhythmic part isn't identical) . For Instance, there is Fables of Faubus by Charles Mingus which starts off with a melody: and then on 0.15 starts another melody that is being played on top of the other. How is this named?", "title": "Is there any name for two melodies that are being played at the same time?", "forum": "music.stackexchange.com", "question_tags": "<terminology>", "link": "music.stackexchange.com/questions/23706", "author": "music.stackexchange.com/users/7356/Shevliaskovic" }

[ [ "The term counterpoint is used when the melodies that are sounding simultaneously are independent and are more or less of equal importance. Quodlibet ( Latin: “what you will”) musical composition in which several well-known melodies are combined, either simultaneously or, less frequently, sequentially, for humorous effect. Mingus himself called this structure of melodies stacked on top of each other - in many of his pieces there are more than two, e.g. in Wednesday Night Prayer Meeting - a \"pyramid\". Accompaniment and Mashup is other terms used.", "There are a number of different terms that may describe this concept, including \"counterpoint\", \"quodlibet\", \"accompaniment\" or a \"mashup\"." ] ]

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[ [ "There are a number of different terms that may describe this concept, including \"counterpoint\", \"quodlibet\", \"accompaniment\" or a \"mashup\"." ] ]

[ { "sents": [ { "text": "It can be depending on the context .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you were using the F&sharp; major scale, you would have the notes F♯, G♯, A♯, B, C♯, D♯, and E♯ .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another common example is in a C♯ major chord you would have the notes C♯, E♯, and G♯ .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The E♯ is an enharmonic equivalent to F. F is used a lot more though, since it is a naturally named note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the same way, F&flat; can used to describe E.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How you name a note being used is typically determined by the scale and context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example : if you are going up the chromatic scale you would be using sharps to name the \"black keys\" and if you were going down the chromatic scale you use flats instead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are a lot of things to think about when naming a note and you can see more examples of how notes are named in this question .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 34 } }, { "sents": [ { "text": "Sometimes indeed it HAS to be E#.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It will depend on what key you're in as to what it is called.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If a key has 6 sharps, the order is", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F#, C#, G#, D#, A# and E#.It's a technicality, but as far as writing it down is concerned, E# would be found on the 'E' place on the stave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It won't be found in the 'F' place, because that would signify an F note, which is already sharp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could be naturalised, but that gets even more confusing, believe me !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are other reasons why it needs to be called E#, all technical.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Dom says, the same sort of things happen to other notes as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's before we start on about '", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is it G or F## (Fx)?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "' etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe you had the idea that the black keys on piano were # and b, but that's only partly true.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On guitar, there are no black keys, so maybe that's where the question came from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 13 } }, { "sents": [ { "text": "A simple rule for major scales is that each letter name must be used once, and once only (until you repeat and start again !).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another rule is that the interval between successive notes of the scale must be Tone - Tone - Semitone - Tone - Tone - Tone - Semitone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Using this rule, the notes of a C major scale are C D E F G A B C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is because there are additional tones between C and D, D and E, F and G, G and A and A and B. Look at a piano keyboard and you will see this", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- in the above example it just so happens that the notes of the C scale are all the White notes, and the interspersed intervals are the Black notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For more 'complex' scales we use the above 2 rules, and denote any black notes that we use as either 'Sharp' or Flat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus the black note between the F and the G can be denoted as either F Sharp (F#) or G Flat (Gb)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "depending on the context in which it is being used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To get back to the original point (!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "if we take the scale of F# We must use all the letter names therefore the notes of the scale become F#, G# A#, B, C#, D#, E# and F#", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There has to be an E# because there must be an E something, and there can only be a half tone between that something and the F#", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- therefore the E (which is a whole tone below the F#) must be 'sharpened' - i.e. lifted by a half tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no black note between E and F - therefore the white note next to the E is used (normally thought of as 'F')", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but in this case it’s", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It’s nothing more than spelling !!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13556/Peter Earle", "score": 8 } }, { "sents": [ { "text": "A practical example to go with the valid theoretical answers: If one needs to play both F and F# on a harp, the harpist is going to have the harp set to E# and F#. Harps don't have any accidental strings, to get accidentals a pedal is set changing all (but the few lowest) strings to the accidental.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, if the F strings are made F#, the only way to get F is to make E# if both tones are needed at once.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13536/Mark Kosmowski", "score": 3 } }, { "sents": [ { "text": "Another example of when E# has to be E# and not F: when playing an A augmented chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This naming shows that the E of the A chord has been sharpened (A C# E#).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Writing F (instead of E#) would indicate that the chord is F aug - F A C#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The notes may sound the same but they have different meanings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8587/No'am Newman", "score": 2 } } ]

{ "question": "A ♯ raises a note by a semitone or halftone . I'm confused. If E and F are a halftone apart, why can't F be E♯ ?", "title": "If between E and F is a halftone, why can F not be an E♯", "forum": "music.stackexchange.com", "question_tags": "<theory><notation><accidentals>", "link": "music.stackexchange.com/questions/23782", "author": "music.stackexchange.com/users/13513/LuisDavis" }

[ [ "It will depend on what key you're in as to what F is called. Sometimes indeed it HAS to be E#.", "The answer will depend on the context, but sometimes F has to be called E#, so it can in fact happen." ] ]

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[ 0 ]

[ [ "The answer will depend on the context, but sometimes F has to be called E#, so it can in fact happen." ] ]

[ { "sents": [ { "text": "A bar's duration can be represented using the whole note No, not always!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the incorrect assumption you're making.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A bar's 'duration' depends on the time signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, in a standard 4/4 bar, the bar is 4 quarter notes long.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(4 * 1/4...see where this is going?)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Alternatively, in a 3/2 bar, the bar is 3 half notes long, or 3 * 1/2!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, whilst a full 4/4 bar would look like this: A full 3/2 bar would look more like this: Or alternatively, could be filled with a single, dotted whole note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10938/Chris", "score": 18 } }, { "sents": [ { "text": "A whole note takes up a full measure in 16/16, 8/8, 4/4, and 2/2 time only.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A whole note has the value of 4 quarter notes or 2 half notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since how common 4/4 time is (it is even also referred to as common time)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it makes sense that the notes name line up with the use in 4/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 3/2 the whole measure is represented by a dotted whole note (i.e. a whole note plus a half note) as seen below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are notes bigger then", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a whole note for example there is a double whole note that has the value of 8 quarter notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This note would be used to fill a full measure in 4/2 as shown below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 11 } }, { "sents": [ { "text": "The US terms whole note, half note, quarter note, eighth note, sixteenth note, etc have some obvious advantages over the UK terms: semibreve, minim, crotchet, quaver, semiquaver, etc", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but they make most sense only in 4/4 time or maybe also 2/2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 3/4 or 6/8, the whole note is too big for a single measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 5/4 and 6/4, it is not big enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The relative lengths of the notes are still indicated by their names but the \"whole\" becomes misleading beyond 4/4 and 2/2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Bob says above, there is a special rule that a whole measure rest may be indicated by a whole note rest but only applies to rests.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39373/badjohn", "score": 5 } }, { "sents": [ { "text": "The questioner is mistaken.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A whole NOTE cannot be used to fill a bar of any length.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But a whole bar can be filled by a REST that looks very like a whole note rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The whole bar rest and the whole note rest are two different things though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They use the same symbol, but positioned differently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A whole NOTE rest sits at its normal rhythmic position in the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The whole note rest is actually quite rare.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only place you're likely to see one is when a hymnal uses 4/2 time.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The whole BAR rest is centered in the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It can fill a bar of any size (with certain exceptions - bars of 3/16 or shorter use the actual length, as do bars of 4/2 or longer).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 3 } }, { "sents": [ { "text": "3/2 is a \"simple triple time signature\"simple means every beat is made up of 2 beats or each of these beats can be broken into two beats and triple because of containing 3 half notes in a measure, meaning there are 3 half or minim notes in a measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That means all the notes in each measure must add up to 3 half notes, not more than or less than that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any combination of notes can be used as long as they add up to 3 half notes, such as; one half note, two quarter notes,two eighth notes and one quarter note rest or so on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In time signatures with 4 as the bottom number, such as 4/4 , 3/4 etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "time, the half note is two beats long.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, when 2 is used as the bottom number a minim is 1 beat long.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As we know top number in a time signature says how many beats are to be contained in each bar that is 3 and bottom number the note denomination,which represents one beat that is the minim or half-note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So 3/2 can be interpreted as three minim beats per bar and must be counted as 1 2 3 but will never be counted as 1 (2) 3 (4) 5 (6) because each half note gets 1 beat here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/41022/Gopen DeSarkar", "score": 1 } }, { "sents": [ { "text": "Let me guess.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A 3/2 beat means ‘3 groups of 2 beats’ and cannot be changed to ‘6/4’ which will become ‘6 groups of a quarter note’.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So 3/2 is very different from 6/4 or all kinds of beats and is very rare.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/68818/Momo Super", "score": 1 } }, { "sents": [ { "text": "The way i see it is in fractions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A whole note (semibreve) is 2/2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A half note (a minim) is 1/2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A quater note (crotchet) is 1/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An eighth note (quaver) is 1/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are trying to get 3/2, its just a matter of getting three halfs in a bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you could have three half notes or one whole not and one half note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope this answered your quetion", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/71029/Sophia", "score": 0 } } ]

{ "question": "A bar's duration is measured in beats and can be represented using a whole note. So, a bar duration in beats is just a whole note. So isn't a 3/2 measure just spilling over? 3 half notes is equal to a bar and a half. What's the explanation?", "title": "In 3/2 time why is a whole-note rest used as a bar's rest when a whole-note doesn't fill the measure?", "forum": "music.stackexchange.com", "question_tags": "<notation><rhythm><time-signatures>", "link": "music.stackexchange.com/questions/24136", "author": "music.stackexchange.com/users/13757/edd" }

[ [ "There is a special rule that a whole measure rest may be indicated by a whole note rest but only applies to rests.", "There is a special rule whereby a whole-note rest can be used to denote a whole-bar rest, regardless of the time signature." ] ]

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[ 0 ]

[ [ "There is a special rule whereby a whole-note rest can be used to denote a whole-bar rest, regardless of the time signature." ] ]

[ { "sents": [ { "text": "Assuming strings have been bedded in, and all are properly in tune to standard, then the whole guitar is in balance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is, the strings exert a tension against the neck and the vibrato system, usually springs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When one string is changed, that balance is changed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lowering a string pitch will loosen that string, so the opposing part of the balance becomes relatively stronger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That then exerts more tension on the remaining strings, putting (pulling) them out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same happens when a string breaks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tension balance is changed, so making the other strings out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any guitar player should be capable of changing strings on the guitar he plays, and subsequently putting that guitar in tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On some with a floating vibrato it will take some time, but that's the nature of the beast.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When new strings are put on, unless they are the same as the old set, other changes may need to be made: neck tension, action, intonation may all need tweaking to accommodate a different set of strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At this point a lot of guitarists will turn to an expert.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, I don't think those are your causes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's merely the change in balance caused by the change of tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Handy hints - learn to change your own strings, get used to tuning the whole guitar rather than one string, don't just rely on a tuner to tune one string.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If we think our guitar is out of tune, chances are it was our ears that told us !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or it might have been the drummer!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So our ears should be good to put it back in tune !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "If the strings are nylon then they will require many days of constant retuning before they stabilise", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13752/Tony Schaps", "score": 1 } }, { "sents": [ { "text": "If it has a tremolo that is not set flush to the guitar body, then retuning one will affect the tuning of the others, by altering the overall tension against the springs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1344/luser droog", "score": 1 } }, { "sents": [ { "text": "Is the guitar in tune with itself(ie 5th fret low E string ==", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A string etc)?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this is the case the problem may be with your tuner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6928/david strachan", "score": 1 } }, { "sents": [ { "text": "Aside from the \"Drop-D\" issue, definitely DO get into the habit of doing your own string replacement and tuning.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Besides gaining the experience, even the best guitars need re-tuning several times with new strings until they settle in and stretch out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can help this along by changing one string at a time, so the neck tension is only changing a little at a time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This also gives you an easy tuning reference that you can hear, less dependent on the electronic tuner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Remember, electronic tuners are most useful when the string is NEAR its proper pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They aren't very helpful and are even confusing until you at least get the string approximately tuned, and even then your EAR has to eventually become the final reference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is because guiar tuners are near perfect, but most guiars (especially beginner guitars) are NOT.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then, each time you get one of the new string approximately tuned, bend the note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I sometimes grab the whole string up near the picking area with my thumb and first finger and give it a sharp twist).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pitch of the new string will drop immediately, so re-tune it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By doing that several times, you're final tuning will stay longer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As far as the fear of the string being tuned too high, this should never be an issue unless you are tuning the string significantly HIGHER then it should be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it still is a reasonable precaution to tune with the guitar \"pointed\" away from your face. :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now back to the drop D tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You didn't mention whether this was an acoustic or an electric.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For various reasons, including the typically lighter gauge strings, any electric will tend to be more sensitive then an acoustic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But either way there are so many factors involved that affect tuning stability.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many of them have to do with the quality and setup (setup meaning truss rod adjustment, bridge height adjustment, or a poorly grooved nut ) and all these things can collectively make the situation worse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But honestly, if dropping the LOW E to D really made all the other strings go as sharp as you described, this instrument may have some serious flaws, and its going to be an ongoing frustration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't let it discourage you...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "only the luckiest individuals have a near flawless guitar when they start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But working through it will soon make you an expert on all the little nuances of guitar tuning, and eventually you'll at least be able to get the most out of the instrument, despite its limitations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then when that's not good enough, it will be time for another one, and you won't need to rely on the shop owner to help you pick it out! :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For now though, even though many of us can help you here, its best to show the guitar to a more experienced player AND demonstrate the problem in person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without actually checking this guitar and seeing the issue in real time, its tough to know how much of the problem is just your inexperience, and how much is the fault of the guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It is a frustrating (some even say wretched) instrument, but nothing beats the sound of a guitar. :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14830/Randy", "score": 1 } } ]

{ "question": "I went to a guitar shop yesterday to buy a new set of strings and had them replace my old ones. The guitar sounds fine like the usual eadgbe sound but when I tried tuning it to drop D using a guitar tuner, I noticed the tune of the strings were like C#, D# etc. (I forgot the others.) I tuned it to EADGBE and it doesnt sound right. Any alternative ways to get it back in tune?", "title": "Difficulty tuning in Drop D", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><strings>", "link": "music.stackexchange.com/questions/24173", "author": "music.stackexchange.com/users/13524/user3736846" }

[ [ "The key to the issue of tuning problems with guitars is to learn to change and tune your own strings. ", "It is difficult to provide a precise answer without more detailed information. However, you would be best advised to get into the habit of learning to tune your guitar yourself." ] ]

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[ [ "Ideally, a guitarist should get into the habit of changing their own strings and learning to tune them themselves.", "It is difficult to provide a precise answer without more detailed information." ] ]

[ { "sents": [ { "text": "In simple terms, 6/8 is compound !!", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "You are counting a relatively quick 1-2-3-1-2-3, as you say, which can feel like 3/4 or 3/8 - waltz like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, the second '1' is slightly less emphasised in 6/8, so it's counted ONE-two-three four-five-six.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The four is where your second 'one', or 'bom' is).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "6/8, being compound, means that it can simultaneously be counted in 2 time, as ONE-tah-tah TWO-tah-tah.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each syllable coinciding with one of the faster counts in the earlier example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the second 'bom' is as loud as the first 'bom' when you count, it will be in 3/4 or 3/8 time, but when the second 'bom' is quieter, but still louder than the other beats, the song will be in 6/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "Music theory generally uses only duple and triple, not the quadruple and sextuple that your link mentions.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Any meter can be explained in terms of duple or triple along with simple or compound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the \"sextuple\" meter she mentions is compound duple meter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It works like this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Meter is a combination of strong and weak beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Two or a multiple of two strong beats per measure is duple, three or a multiple of three strong beats per measure is triple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If there is only one strong beat per measure (2/4, 3/4), then all the beats count.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for simple vs. compound, strong beats that subdivide into two are simple, those that subdivide into three are compound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2/4 and 3/4 subdivided in twos by default.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, for the commonest time signatures: 2/2 Simple Duple 2/4 Simple Duple 3/4 Simple Triple 4/4 Simple Duple 6/8 Compound Duple 9/8 Compound Triple 12/8 Compound Duple", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fact that some strong beats are weaker than others makes no difference in whether a meter is compound or simple or duple or triple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are having trouble with, say, the difference between 2/4 and 4/4, think about primary and secondary accents on syllables.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, \"secondary\" has a secondary accent on the third syllable: \"SE-con-Da-ry\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In musical meter, the primary accent is on the first beat, and the secondary accent is on the other strong beat (if there is one).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 4/4, the secondary accent is on 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9399/BobRodes", "score": 2 } }, { "sents": [ { "text": "Because it is in 6/8 and while you feel it in three, you feel it in two groups of three as is common for a song in 6/8.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 6/8 two dotted quarter notes get the beat, but each dotted quarter note can further be divided into 3 eighth notes making you feel each beat in 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is how songs in 6/8 typically works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 1 } }, { "sents": [ { "text": "The distinction between a slow 6/8 meter and a waltz is largely arbitrary.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may be that the melody is intended to have a stronger downbeat on every alternate bar, and that many people perceive it that way, but the same is true for countless waltzes notated in 3/4 as well (mostly those that have even-length numbers of bars in their phrases).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only objective reason to call something 3/4 if it has an odd number of bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(For a fast 6/8 meter, such as a typical tarantella, it's the short duration of the quavers that makes it much more appropriate to use 6/8, but \"Greensleeves\" isn't one of those at all.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3083/Kilian Foth", "score": 1 } }, { "sents": [ { "text": "Every copy I've seen of Greensleeves notates it in 3/4 time, but if one looks at the word stresses it could probably be notated just as well in 6/8 (with half as many measures) or perhaps 12/8 (with a quarter as many measures) since alternating measures definitely have stronger and weaker word stresses, as do alternating pairs of measures (though to a lesser degree).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that historically there has been a tendency to avoid the use of compound meters for slower tempos, even though such avoidance often results in notes being held routinely for entire measures.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Greensleeves doesn't have any really long notes, but consider the song \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On top of Old Smokey\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All the sheet music I've seen for that is likewise in 3/4, but each four-measure phrase has two notes which is held for a whole measure each, and the downbeat of the third measure is a rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The article you linked cites a nice example of a piece which is in triple meter without any sort of sextuple", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "feel:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Brahms' Lullaby.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the English text \"Lul-la-BY, and good NIGHT; in the SKY stars are BRIGHT\", the stresses on \"-by\", \"night\", \"sky\", and \"bright\" are all roughly equal (interestingly, the \"triple\" example where it shows word stresses, \"America\", would fit naturally into a 6/8 meter while Brahm's Lullaby would not).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 1 } } ]

{ "question": "When I hear greensleeves it sounds like a waltz to me (bom-tah-tah / bom-tah-tah), why is it considered a sextuple ? source : https://www.inkling.com/read/the-enjoyment-of-music-kristine-forney-11th/part-1/chapter-2", "title": "Why is greensleeves considered to be in sextuple meter?", "forum": "music.stackexchange.com", "question_tags": "<time-signatures>", "link": "music.stackexchange.com/questions/24979", "author": "music.stackexchange.com/users/15311/ychaouche" }

[ [ "Music theory generally uses only duple and triple, not the quadruple and sextuple mentioned in the link.", "Music theory generally doesn't use the term sextuple." ] ]

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[ [ "Music theory generally doesn't use the term sextuple." ] ]

[ { "sents": [ { "text": "Two basic philosophies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First is, set everything at 12 o'clock (halfway) and adjust everything up or down until it sounds right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Second is, dime everything (all the way) and back things down until it sounds right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it doesn't already.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are other things to consider.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A common metal thing is to max the bass and treble and pull back on (\"scoop\") the mids.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "With overdrive, you'll likely max the knob at first, but the distortion you hear on record is likely not nearly as much as you think.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "But don't think there's a magic setting that'll just be it .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a YouTube video of Tom Morello talking about getting started, turning knobs and looking for the magic sound until he said \"Heck with this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll stick with this one.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And he learned to love it, and if you like Rage Against The Machine, you do too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get to where it works well enough, and eventually you'll have your tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/195/Dave Jacoby", "score": 10 } }, { "sents": [ { "text": "One other thing that took me MANY years to realize.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best EQ and tone settings to please your ear in a room by yourself are going to be surprisingly different from the ideal tone when you play with other instruments, and especially when recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the best guitar sound when a keyboard / synth is playing chords is often much more treble than you'd ever care to hear in a \"stand alone\" situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14830/Randy", "score": 9 } }, { "sents": [ { "text": "The best way to get the sound you desire is just to play around with the settings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A rock sound makes me think of more overdrive usually, but it depends on your situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can get infinite suggestions for what people like to do with their guitar, but they will mostly all be different and ultimately you just have to listen for yourself to find what you like.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12454/Dan Hogan", "score": 3 } }, { "sents": [ { "text": "Realizing that my guitar was a mid-range instrument helped me find what I believed to be the most satisfying tones i.e. not chasing extreme treble or bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have found distortion is good for tightening up the sound a little bit, and higher distortion tends to work better for single note passages and diads than it does for chord work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general terms classic rock will use more of an overdrive/low distortion than newer styles of rock and metal.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Keep playing with the settings, as you will be the best judge of what sounds like your definition of rock.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This will also probably change as your ear improves, so make sure you continue to experiment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15301/MatFarley", "score": 3 } }, { "sents": [ { "text": "If you are using distortion then typically you would start by having bass, treble and mid set at halfway.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Increase the bass and treble with no mid you will get the metal tone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Most players keep the mid, bass and treble pretty close in values with each other then adjust the settings slightly depending on the type of guitar and genre.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I see most top 40 pop/rock uses the settings like have all settings around 6 to 8 on a 10 scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7049/r lo", "score": 2 } }, { "sents": [ { "text": "Not mentioned above, there are amps that seem to have that Rock sound built into their circuitry, and certain guitars that take advantage of the amps characteristics, so that when they are paired up, the results are considered magical.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Marshall amps and Les Paul guitars, Telecasters and Tweed Bassmans, Stratocasters and Twin Reverbs, Gretch and Vox, the list goes on and on, but my point is, you will probably have more success in finding that magic, if you find the right guitar and amp combination that suits your purpose.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 0 } }, { "sents": [ { "text": "Whilst all of the above answers are good, I don't think they zero in on what the question asks: how does one know what the different knobs (bass, treble, mid, overdrive) do to derive a desired rock sound/feel?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally these are what the controls do:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Volume is your \"clean\" channel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It increases the output signal without distorting it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gain allows you to put your amp into overdrive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This \"clips\" the input signal as the circuitry gets saturated, resulting in an overdriven or distorted sound which is characteristic of rock.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would say that by far gain is the most \"rocky\" of your controls.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Bass/mid/treble: sometimes called EQ controls, these control how much of the low/medium/high frequencies is amplified or attenuated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general, when you boost the bass the sound gets \"darker\", if you boost the \"treble\" it can get lighter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Different rock guitarists opt for different EQ settings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Something that I didn't learn until after a few years into playing the guitar is that, unlike a traditional hi-fi amp, a guitar amp is not supposed to play the sound of your guitar with complete fidelity; instead, it is supposed to alter it or \"colour\" it to give it a more distinctive sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's why different guitarists tend to prefer different brands, to achieve their own personal sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As said above, it is up to you to experiment and find your own sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good luck!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44730/mkorman", "score": 0 } } ]

{ "question": "I have trouble figuring out my guitar amplifier's equalizer settings, how does one know what the different knobs (bass, treble, mid, overdrive) do to derive a desired rock sound/feel?", "title": "How does one set up a guitar amplifier to produce a rock sound/feel?", "forum": "music.stackexchange.com", "question_tags": "<electric-guitar><amplifiers><rock>", "link": "music.stackexchange.com/questions/25203", "author": "music.stackexchange.com/users/13367/Nick" }

[ [ "The best way to get the sound you desire from a guitar amplifier is just to play around with the settings. In general terms classic rock will use more of an overdrive/low distortion than newer styles of rock and metal. A common metal thing is to max the bass and treble and pull back on (\"scoop\") the mids. Gain is the most \"rocky\" of the controls.", "The best way to work out what the controls do and how to get a rock sound is simply to experiment yourself. However, most rock sounds will involve turning up the gain and applying some distortion or overdrive. Additionally, setting the treble and bass to 'max' while lowering the mids can help achieve a more 'metal' sound." ] ]

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[ [ "The best way to work out what the controls do and how to get a rock sound is simply to experiment yourself.", "Generally, a rock sound will involve an overdrive or distortion sound.", "Setting the bass and treble to 'max' whilst lowering the mids will help you achieve a more 'metal' sound.", "The gain will be the most important setting for a rock sound." ] ]

[ { "sents": [ { "text": "I've seen ppp, pp, p, mp, mf, f, ff, fff used commonly giving you 8 levels.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "ffff and pppp seem pretty rare.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There's also no standard for EXACTLY how loud each of these are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eh, it's the arts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whattayagonnado ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2248/Stephen Hazel", "score": 7 } }, { "sents": [ { "text": "Giovanni Gabrielli started it all with just two: piano and forte .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Before long, there were also pp (pianissimo, \"softest\") and ff (fortissimo, \"loudest\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beethoven used fff if I recall correctly, but few composers used more than 2 of each.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know that Tchaikovsky's sixth symphony has ffffff and ppppppp .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Most conductors substitute a bass clarinet for the bassoon where it is supposed to play ppppppp .)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And yet, Berlioz' Requiem op.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5 never goes beyond ff and gets even louder than Tchaikovsky's 6th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/113/Mark Lutton", "score": 4 } }, { "sents": [ { "text": "I would actually expect that having more levels simply means that you're expected to recognize the relative differences between different segments of the piece being played, thus allowing you to play the song more closely to how the original composer intended.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Example: if you had pp, mp, ff and fffff you would probably play those parts somewhat differently than if the markings were ppp, p, f, ff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The relative differences between them all would make for substantially different dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is basically giving you varying resolutions in dynamics suitable to the unique requirements of each musical score, and also a reasonably accurate way to give musicians a relative relationship to use that is meaningful within the context of each individual piece, allowing faithful rendition while also allowing for personal interpretation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This interpretation clearly requires being familiar with the piece before playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can't say this is 'correct' but it certainly makes a lot of sense to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15544/Joshua Naterman", "score": 3 } }, { "sents": [ { "text": "There is no limit, but for any normal performance pp to ff would be all you need.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A p itself means quiet and an f itself", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "means loud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you add another p or f to each it technically adds \"very\" in front of each.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Examples: pp - very soft ff - very loud ppp - very, very soft fff - very, very loud pppp - very, very, very soft ffff - very, very, very loud etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know in Finale the dynamics go up to ffff (at velocty 127) and pppp (at velocity 10).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are pieces out there that use more (see this Wikipedia article for examples).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of it this way: you can always add another \"very\" in front of loud and soft and there may be times", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it makes sense to put a pppppppp or an fffffff if you want to express extreme dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like I said in most situations \"very loud\" and \"very soft\" are good enough, but there is not a notional limit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 2 } }, { "sents": [ { "text": "There are no consistent technical specifications attached to the various numbers of letters.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Thus, any number of letters can theoretically be used by the composer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, it is important to remember that any more than three or possibly four starts to get extremely difficult to read at all quickly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, they are not set to a concrete Db level, but the performer's discretion, so you shouldn't need more than the standard three each way plus the mezzo piano and mezzo forte.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Context quite often decides the volume and force as much as the actual markings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same principle applies to the number of F's in the sforzando marking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15537/veryRandomMe", "score": 2 } }, { "sents": [ { "text": "Needs to be noted that it's all relative.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each instrument will have its own dynamic spectrum, so a piccolo won't have the same 'p' or 'f' as say, a trumpet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also the auditorium must play a part in this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A small hall will surely give 'f' a different no. of decibels from a large one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And there seems to be no actual figures for 'p', 'f' etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once some instruments get to fff, they've run out of steam, so ffff would be unattainable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "The only limit to how many p or f is the technical proficiency of the musicians.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It must be made clear that dynamics in themselves do not mean anything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They are references to each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A piano is a piano only in reference to dynamics in their very piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Better ensembles and musicians will be able to actually make differences between a ff and a fff, or a pppp and a ppppp for that matters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Younger ensembles will often play ff and fff pretty much the same way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is also worthy to note that the acoustics of the room will influence how instruments have to play to actually sound f or p in reference to each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8761/Félix Gagnon-Grenier", "score": 1 } }, { "sents": [ { "text": "I know it as usual that fff means as loud as possible and ppp is as quiet as possible", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Those two are the maximum in every direction i know as usual.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the most cases this should be enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For listeners 8 volumelevels (ppp, pp, p, mp, mf, f, ff, fff) is hard to differentiate, but for the players it can also be hard to play it the same every time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More levels won't make it easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8639/Obl Tobl", "score": 0 } } ]

{ "question": "How far can pianissimo/fortissimo go? I have heard both the limit is 4 and 2 of each. Meaning pppp/ffff or pp/ff. What is the actual limit?", "title": "Limits of Fortissimo and Pianissimo", "forum": "music.stackexchange.com", "question_tags": "<theory><notation><dynamics>", "link": "music.stackexchange.com/questions/25334", "author": "music.stackexchange.com/users/15538/Jonathan111222" }

[ [ "With regard to the limits of Fortissimo and Pianissimo, f and p, there are no consistent technical specifications attached to the various numbers of letters. The only limit to how many p or f is the technical proficiency of the musicians. That being said, ffff and pppp seem pretty rare. However, Tchaikovsky's sixth symphony has ffffff and ppppppp . ", "It is generally agreed that there is no limit to how many of these markings you can use, although there are pieces that include five or more." ] ]

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[ [ "It is generally agreed that there is no limit to how many of these markings you can use, although there are pieces that include five or more." ] ]

[ { "sents": [ { "text": "There is a rather more fundamental, physical reason for this than so far mentioned: the bass fills not only the bass frequency range, but its harmonics actually reach well into the midrange where all other voices have their fundamentals!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In fact, since the bass has typically the strongest amplitude 1 of all tuned instruments (save perhaps trumpets, lead vocals etc.), the middle voices have a hard time to really isolate themselves from these harmonics, at any time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Their harmonic function is thus always determined to a large degree by what interval they play over the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This has again a particular reason: to make up for Fletcher-Munson , so the bass won't seem much quieter than everything else.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 36 } }, { "sents": [ { "text": "This is not a rigorous, scholarly answer, but a useful one: There is a simple, general principle in writing Western music that has been mentioned by many people over the centuries.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It basically says that a piece of music has two important components: the melody up top, and the bass line down low.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chords are determined by filling in the spaces between the melody and the bass line to create musical effects that are pleasing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No matter how pieces of music are written, if you look at the music after it's written, you can see the sense of this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When students study Western music theory, or \"common-practice-period tonal harmony\" as it is officially referred to, in the style of J. S. Bach, a frequent homework assignment they encounter is to take a short melody, then construct a bass line beneath it, then to write notes in-between to create chords to fill in the arrangement, according to the academic rules of part-writing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is certainly not the only method of writing music, but it is fair to say that this method has been extremely common in all styles of music ever since the time of Bach.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 7 } }, { "sents": [ { "text": "A lot of Western music falls into the broad category of primary melody on top, a lot of stuff in the middle, and bass line on bottom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The outside lines--melody and bass--are easiest for our ears to distinguish because they are the lowest and highest boundaries of each vertical slice of harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The inner voices are often (but by no means always) less important as melodic lines than they are for determining chord quality--the moment-to-moment color of a piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Therefore, if you know the bass, harmony, and melody of a piece of music, you know a lot about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You know the shape and color of each vertical slice, as well as the contours of the most prominent horizontal lines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, in many styles, there are idiomatic \"good\" ways to realize inner voices given a melody, bass and harmony, whether it be the figured bass notation of the Baroque or much freer jazz and pop styles.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Therefore, analyzing in terms of melody line, bass line, and harmony captures the \"essential\" identity of many types of music, from Baroque arias and dances to pop chord charts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An experienced performer can satisfactorily replicate the \"fundamental\" music from these sources.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15619/Gabe", "score": 3 } }, { "sents": [ { "text": "I want to start my answer by saying: I don't know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a very profound question.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It does not have a trivial answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think anyone knows the answer for certain.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Because your question isn't just about how Common-Practice Era Western Music Theory Type analysis proceeds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's about how we think about what a chord is .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What is it about how we hear chords that makes us say that CEG is in an important sense the \"same thing\" as EGC?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why do we conceptualize the various inversions of a chord as, er, \"a chord\"?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So this is a hypothesis: we think about music as we hear it, and individual pitches rest on a fundamental pitch because of how physics work, so perhaps we bring the same thinking to harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hypothesize our thinking about harmony proceeds from the assumption that harmony is really multiple voices making a single pitch with complicated overtones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you hear \"EGC\" (the first inversion of C major), even if produced by three separate instruments, maybe you hear it as if it were a single voice singing a single pitch with those overtones -- but we know intuitively that in nature that cannot be: no single resonant pitch can have the structure of EGC, because overtones simply don't happen in that order, so it implies to us an unheard lower C supporting that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's my guess.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10412/Codeswitcher", "score": 1 } }, { "sents": [ { "text": "The bass is so important because it imposes its presence on all the other sounding notes via three main characteristics: Its harmonics interact with all the higher pitches.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It has a strong amplitude (see @leftaroundabout 's answer) and in practice is often doubled by many instruments in a variety of styles.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It stands out by virtue of being an outer voice.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "This is only true for the highest and lowest voices in a texture.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23429/Alex", "score": 1 } }, { "sents": [ { "text": "In a visceral sense, the bass is the below the other tones in the music, so it has the perceptual role of supporting them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An analogy can be made to the foundation of the house, which supports the rest of the structure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't start building a house until a good foundation is laid down, and the foundation determines how the rest of the house is built.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/49731/dwilli", "score": 0 } } ]

{ "question": "In any type of harmonic analysis the bass plays a big part in determining the function of the harmony. There are even special ways to describe what note of the chord is in the bass (known as inversions ) and notation for chord symbols to make sure the right note is in the bass (known as slash notation ). So why does the bass note play such a big role in harmony?", "title": "Why is bass note so important in harmonic analysis of music?", "forum": "music.stackexchange.com", "question_tags": "<theory><harmony><analysis>", "link": "music.stackexchange.com/questions/25453", "author": "music.stackexchange.com/users/7222/Dom" }

[ [ "The bass is so important because it imposes its presence on all the other sounding notes via three main characteristics: Its harmonics interact with all the higher pitches. In fact, since the bass has typically the strongest amplitude 1 of all tuned instruments (save perhaps trumpets, lead vocals etc.), the middle voices have a hard time to really isolate themselves from these harmonics, at any time. However, this question is very profound and difficult to answer.", "This may be a very difficult question to answer with any certainty. However, one possible reason could be that bass instruments have a strong amplitude and frequencies that extend well into the midrange where other notes and instruments play." ] ]

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[ [ "This may be a very difficult question to answer with any certainty.", "Bass parts have a strong amplitude and frequencies that extend well into the midrange where other instruments play." ] ]

[ { "sents": [ { "text": "It sounds like she may have been talking about the Tristan Chord , a famous chord from the opening of Richard Wagner's opera Tristan und Isolde .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "While it can be enharmonically written as a half-diminished 7th chord (F-A♭-C♭-E♭), it does not resolve in the way a half-diminished 7th chord", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "would, nor is it written as a half-diminished 7th chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For this reason, it has become famous for being a rather difficult chord to analyze with traditional Roman numeral analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The issue is not that it doesn't resolve, but that it resolves in a way that makes its relationship to the key so ambiguous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15511/Casey Rule", "score": 13 } }, { "sents": [ { "text": "I'm not sure I could call any chord \"unresolvable\", though I'd have to know the context of the conversation.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "However, augmented chords (e.g. C-E-G&sharp;), as well as diminished 7th chords (e.g. C-E&flat;-G&flat;-B&flat;&flat;)-- both of which have been mentioned in other answers -- share a common trait", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": they are, in some sense, symmetric.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Augmented chords are created by stacking three major thirds, and diminshed 7ths are likewise created by stacking four minor thirds, both of which add to an octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While neither chord is \"unresolvable\", these two types of symmetric chords could be said to be \"ambiguously resolvable\", in that they look the same from three or four different keys (respectively), and can therefore be plausibly resolved to any one of several possible distant keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a result, romantic composers will often use them as a sort of \"turn-stile\" to modulate between unrelated keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, the Tristan Chord, mentioned in yet another existing answer, is also somewhat symmetric (at least after the G&sharp; resolves to the A).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It consists of two major thirds (F-A and B-D&sharp;), separated by a tritone (a symmetric interval).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such, you could almost envision it resolving to a Bb7 instead of an E7 (if it weren't for those chromatic passing tones that help to indicate a clear direction to the line).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The takeaway point is that, in music, symmetry leads to a certain ambiguity of tonal center, and therefore can weaken the sense of needing any specific resolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Such a chord still needs a resolution, but it has several options, and so does not necessarily need any specific resolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10637/Caleb Hines", "score": 3 } }, { "sents": [ { "text": "They may have said the Tristan Chord, but I would argue it is resolvable, and in fact not mysterious... as others have pointed out, the analysis works well if you see the G# as a non-harmonic tone, a lower neighbor (in A minor) to the A at the end of the measure.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then we have the following notes, spelling them out in thirds:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(B D# F A).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We have F in the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a textbook French 6th chord in A minor!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://en.wikipedia.org/wiki/Augmented_sixth_chord Note that the next chord is V7, a dominant chord in A minor, which is exactly what you would expect (perhaps with an intervening I", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "6/4 but not seen here)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "following the Fr6.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I recall Wagner loved augmented sixth chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've not done any research on the Tristan Chord specifically before seeing it here, but", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm surprised it has an aura of mystery.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16899/Daniel Garrison", "score": 3 } }, { "sents": [ { "text": "Personally, I find augmented chords (like c e g#) much worse to resolve than diminished chords: diminished chords reduce to a seventh chord by lowering any chord note by a semitone and resolve obviously from there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One can often actually use them functionally instead of a seventh chord in the first place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Augmented chords don't work in that manner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you change one of their notes, the result will be a finished chord, but one that is not in useful harmonic relation to the augmented chord and thus does not serve as its resolution or as a satisfactorily meaningful part of a multi-step resolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consequently, if you take a look at resolution master J.S.Bach, you'll find diminished chords all over the place in cadenzas, but mostly draw a blank on augmented chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16870/user16870", "score": 2 } }, { "sents": [ { "text": "While Dom talks about the V chords which in themselves sound unfinished, they are resolvable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think it may be diminished chords that you have in mind.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "They use notes which are usually not within the key in question, thus sound a little strange, and can, by their make-up, go to several different places.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The V chord, 9 times out of 10, will find resolution in the I chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Everywhere in Western music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } } ]

{ "question": "A musician friend mentioned this in passing - she talked about the something chord and then explained it was unresolvable, and how she hates it because she cannot stand music that doesn't resolve. But I can't recall what it was called. I don't know enough to know if it really is a single chord, or a family of chords, or something less specific entirely.", "title": "What is the \"unresolvable chord\"?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords>", "link": "music.stackexchange.com/questions/26840", "author": "music.stackexchange.com/users/15313/Mr. Boy" }

[ [ "The unresolved chord may be a reference to the Tristan Chord , a famous chord from the opening of Richard Wagner's opera Tristan und Isolde . They may have said the Tristan Chord, but It could be argued it is resolvable, and in fact not mysterious... as others have pointed out, the analysis works well if you see the G# as a non-harmonic tone, a lower neighbor (in A minor) to the A at the end of the measure. ", "Without more context, it will be difficult to answer this question. However, the person in question may have been talking about the Tristan chord or diminished chords. Some people, meanwhile, would argue that no chord is unresolvable." ] ]

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[ [ "The person in question may have been talking about the tristan chord or diminished chords.", "It would be hard to answer this question without more context, but some people would argue that no chord is unresolvable." ] ]

[ { "sents": [ { "text": "Just an idea, I haven't tried this, but SoundHound 1) supposedly recognizes tunes from singing the melody. 1) http://www.soundhound.com", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7251/Matthew James Briggs", "score": 3 } }, { "sents": [ { "text": "Non-expert opinion:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are you widely distributing it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is it possibly from a piece of music that still may be under copyright (link) ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could pay for a search or the advice of an entertainment attorney.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise, you might like to know just for your own understanding, but it probably isn't worth the effort, aside from maybe asking some experts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have an artist in mind, you could listen to their collected recordings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If it's only a few chords in the progression and you don't recognize it, it's probably not very identifiable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17048/dwn", "score": 2 } }, { "sents": [ { "text": "You can do that only for recordings, not tunes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "For tunes you should officially register the tune to your name and claim your rights if by chance you notice someone other is using that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This can happen if the tune goes popular.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it doesn't go popular, then claiming and searching is also impractical.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Visit copright.gov and My Free Copyright for more information on registering tunes (and also recordings).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can also use your local official time stamp agencies or notary for the same purpose.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For tracking recordings, I can suggest these services: Tunesat scans the tv stations and websites all around the globe and gives a periodical report of usage of your recordings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a relatively expensive service for amateur uses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rumblefish scans YouTube and claim royalties but can be accessed only through agents like CDBaby , Tunecore ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17019/Guney Ozsan", "score": 2 } }, { "sents": [ { "text": "Yes, there are no exact way to find out if a tune is exist ant now, simply because there are too many songs and most of them contain a lot of notes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "However, there are cases where small parts of your song matches other small parts of other songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To answer your question, if your song is a piano song you made, try searching it up in the piano melody search engine, called http://www.musipedia.org/ .", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "This website lets you input a song or melody into its search engine, and searches it depending on if you want rhythm or melody to be searched more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind, it only works on piano songs as this website only contains these songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This website is great to see if your song matches or is close to another melody, as it will sort it from most likely match to least likely!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I use it to check for common tunes and if my songs are close to others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Enjoy!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17168/kmart", "score": 2 } }, { "sents": [ { "text": "I know of no way to do it, but YouTube is inordinately successful at recognising copyrighted video even when it's been re-captured on a mobile phone, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I'm quite sure that technologically it would be possible - but it would need someone like Google to build it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15313/Mr. Boy", "score": 1 } }, { "sents": [ { "text": "For copyright questions, one thing you could consider doing is searching for the tune on Peachnote.com to see if it exists in that database of 200,000 out of copyright musical sources (mostly classical).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "If it appears in there then you don't have to worry about whether it appears in an in copyright song because you'd be protected since it'd be derivative of a melody that has already passed into the public domain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5807/Michael Scott Cuthbert", "score": 0 } } ]

{ "question": "When I come up with a lick/melody, there always lingers that question of \"Has this melody already been used?\" Should I worry about it or is there a way to find out without too much hassle?", "title": "Any quick way to know if my tune is already used?", "forum": "music.stackexchange.com", "question_tags": "<melody>", "link": "music.stackexchange.com/questions/27342", "author": "music.stackexchange.com/users/13617/manejar" }

[ [ "It is rather difficult to find out if a tune you have come up with has been used before. One option may be to try SoundHound http://www.soundhound.com which is supposed to recognize tunes when you sing the melody. If you have an artist in mind, you could listen to their collected recordings. For copyright questions, one thing you could consider doing is searching for the tune on Peachnote.com to see if it exists in that database of 200,000 out of copyright musical sources (mostly classical).", "Some people would doubt whether it's possible to find this out since there are so many songs in existence. However, there are tools out there that might recognise music that you play, such as SoundHound, musipedia or Peachnote. Alternatively, if you have an artist in mind, you could simply listen to their recordings to see if you recognise something that you have composed." ] ]

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[ [ "If you have an artist in mind, you could listen to their recordings to see if you can identify your composition.", "Some people would doubt that there is a way of doing this because there are simply too many songs to consider.", "There are a range of tools out there that might be able to recognise music that you play, such as SoundHound, musipedia or Peachnote." ] ]

[ { "sents": [ { "text": "This might help : Haynes Guitar Books", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I have the Stratocaster one and found it full of great info.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The guitar books are intended as a bit of 'uselful humour', I guess - if you haven't heard of Haynes, they're a part of the home auto mechanic's folklore (in UK at least):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Historically, from the 1960's, Haynes manuals have provided great information on how to maintain cars - one manual per model of car - stuff like how to remove the engine, overhaul brakes, set valve timing, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A pretty major resource.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously the range of manuals is huge, covering most cars back to the 60's.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some of the older manuals are now quite valuable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Recently they branched out", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- you can get a Haynes manual for the USS Enterprise (maintenance & repair) and also how to maintain your wife / baby and Supermarine Spitfire - clearly intended as a joke but they often contain useful info.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OK maybe not in the USS enterprise one haha", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However I have the Stratocaster manual", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it's very informative and goes through the kind of thing you're talking about.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm guessing the general", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Electric Guitar one is just as good, just more generic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm assuming here you mean electric guitar, but if acoustic, a lot of the same principles will apply.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Alternatively there may be an acoustic manual..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7337/user2808054", "score": 4 } }, { "sents": [ { "text": "If you can find a luthier locally, you might be able to convince them to let you observe them working, especially on your own guitar - maybe even guide you to do the fixes yourself.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You could certainly ask your friendly luthier for advice how to learn, or at the very least how they learned.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15313/Mr. Boy", "score": 2 } }, { "sents": [ { "text": "If you are willing to buy a book, this is the indispensable reference: http://www.danerlewine.com/guitar_repair_books.html", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "The guy's a god, and it covers everything from how to string the instrument to insanely complex repairs like neck resets and fixing holes in the side...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9337/Robert Fink", "score": 2 } }, { "sents": [ { "text": "I found this author extremely helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His basic guitar setup is one of the indispensable books i used to learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.amazon.com/Hideo-Kamimoto/e/B001KHY1WA", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's another even more basic but good book.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This one touches on both guitar and amps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.amazon.com/The-Complete-Guide-Guitar-Maintenance/dp/0793534909", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have a cheap beginners guitar to practice on you'll sleep better at night, but keep in mind the cheaper they are, the harder to get to play right and you'll be working for nothing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that's better than stripping the threads off the truss rod nut on a good guitar!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13768/user6591", "score": 2 } }, { "sents": [ { "text": "Get yourself a second hand guitar, broken or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cheap is good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then use it as your guinea pig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chances are you won't break it, but when it ends up as a real playable instrument because you've fettled it by yourself, it'll be a great feeling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the worst comes to the worst, it's cost you very little, but given you great experience!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "There are several instructional DVDs available that go through the entire flow of setting up a guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Here's one example after a quick search: http://www.amazon.com/Guitar-Setup-Maintenance-Instructional-Denny/dp/B002I9PSQC", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13674/FDM", "score": 1 } }, { "sents": [ { "text": "Your best option is to find a local luthier/guitar tech that is respected and ask to apprentice with him and learn everything you can.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other than that, there are some schools that teach guitar tech.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know of is the Musicians Institute: http://mi.edu/degrees-programs/industry-programs/guitar-craft/ That being said, you can also do what others are suggesting (and what I did) and just experiment on your own guitars and learn what you can from the internet.. there is tons of info out there about guitar maintenance and construction.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13110/Charles", "score": 0 } } ]

{ "question": "I have watched countless Youtube videos with very little luck whatsoever. The information out there is so scattered. I am asking, is there a way I can learn to work on my guitar that is very simply stated? I want to learn to set the neck, adjust action and string height etc. Thanks", "title": "Where can I go to learn how to fix my guitar?", "forum": "music.stackexchange.com", "question_tags": "<electric-guitar><repair>", "link": "music.stackexchange.com/questions/27485", "author": "music.stackexchange.com/users/16809/Jordan" }

[ [ "Finding a luthier locally, and asking them to let you observe them working, especially on your own guitar - maybe even guide you to do the fixes yourself - is one way of learning to fix your guitar. Otherwise, for books the indispensable reference is: http://www.danerlewine.com/guitar_repair_books.html. There are also several instructional DVDs available that go through the entire flow of setting up a guitar. ", "Your best option will probably be to ask a local luthier if you can watch them and learn from them. Otherwise, there are instructional books or DVDs available that may be able to teach you what you need to know." ] ]

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[ [ "Your best option will be to find a local luthier and ask if you can observe them working to learn from them.", "You could consider buying an instructional book or DVD to learn from." ] ]

[ { "sents": [ { "text": "Not everybody can do this but the trick is your finger forms a 2nd, partial barre at the 3rd fret, but bends", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it raises above the highest string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some people play A like this as standard however", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I believe it partly comes down to luck how long your fingers are, how practical this technique will be.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Check out this awful drawing:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15313/Mr. Boy", "score": 37 } }, { "sents": [ { "text": "I use this kind of \"A-shape\" barre chord all the time, although I must admit I rarely teach it to students.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I actually find it easier than using fingers 2, 3 and 4 to play the three fret 3 notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All you have to do is bend your third L.H. finger backwards, so that the joint nearest the knuckle moves forwards and away from string 1.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Here's a picture of me using this technique:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 37 } }, { "sents": [ { "text": "Both answers are great, but do you know there are other ways to play this chord here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The index barre can be over all 6 strings, which can all be strummed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It just gives an inversion of Bb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3 fingers can be used, on 2nd, 3rd and 4th strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise, two fingers can be used, with two strings held down by one finger, and the other with another finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Bob says, it's hardly a beginner's shape, but I also use it in preference to my other suggestions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's o.k. to mute the top string, which note is actually replicated an octave lower.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The shape is of course movable to make any major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try it around frets 6-8, where there might be more success as the fretboard is a little wider.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 7 } }, { "sents": [ { "text": "If I want the high E string, if I need the high note, I play it with the middle finger on the G string, the ring finger on the D string and the pinky on the B. If I play the two-finger chord, I don't even want the high E.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "I know you can, but it isn't what I'm doing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/195/Dave Jacoby", "score": 4 } }, { "sents": [ { "text": "Another option is to use the 4th finger to barr the 3 notes at the 3rd fret - my 4th finger will bend further and be able to leave the top string untouched.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "(Took a few weeks of practice though!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18531/user18531", "score": 2 } }, { "sents": [ { "text": "I have seen people who can get that F on the first (highest) string, but it is almost freakish.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Usually that highest string is muted for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, I would never fail to barre the sixth (lowest) string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just remember in this voicing, your root note is on the fifth string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are \"boom chucking\" (playing root/chord/fifth/chord' etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it puts that lower fifth tone right where you need it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This chord is excellent for adding sevenths, both flat and major, as well as the sixth, up on top where they can be featured.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you need a six string Bb, go on up to the sixth fret and barre E-style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I remember not liking this chord, and the F on the first fret, but time and practice will make it all second nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Work away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will get there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15370/memphisslim", "score": 1 } }, { "sents": [ { "text": "A friend o' mine did the double barre in a song many years ago", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I was like, \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whoa, what's that?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He showed me and I went home and practiced it until my fingers ached, then practiced more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's great to have that major chord at such a quick flick from the majors above it G to C, A to D, etc..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nice for speed songs like punk rock too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Attack it and make it yours.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/22945/ScottRazr", "score": 1 } } ]

{ "question": "This chord diagram is from the GarageBand chord trainer (I'm a beginner). How is it possible to put a barre down on the third fret without also muting the top E string?", "title": "How is this B flat guitar chord physically possible?", "forum": "music.stackexchange.com", "question_tags": "<guitar><technique><chords><acoustic-guitar>", "link": "music.stackexchange.com/questions/29197", "author": "music.stackexchange.com/users/15759/codecowboy" }

[ [ "To play this B flat guitar chord, all you have to do is bend your third L.H. finger backwards, so that the joint nearest the knuckle moves forwards and away from string 1. Another option is to use the 4th finger to barr the 3 notes at the 3rd fret - my 4th finger will bend further and be able to leave the top string untouched.", "How practical this chord will be to play will depend on how long your fingers are. However, in principal, you need to bend your finger backwards so that it doesn't mute the top string. Alternatively, you could use a different fingering altoghether." ] ]

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[ 0 ]

[ [ "How practical this chord will be to play will depend on how long your fingers are.", "To play this fingering, you will need to bend your finger backwards so that it doesn't mute the top string.", "You could consider an alternative fingering to play this chord." ] ]

[ { "sents": [ { "text": "I would recommend getting a copy of Hindemith's book: Elementary Training for Musicians", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the early chapters he has masses of exercises in sight-reading rhythmic patterns, both as single-line rhythms, and also more complex ones where you have to tap one rhythm while playing another rhythm (very useful for pianists).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The book is also extremely useful for lots of other aspects of musicianship.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have been delving into the book for years - and still not mastered all it contains (maybe I am just a slow learner!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2535/Old John", "score": 5 } }, { "sents": [ { "text": "For jazz guitar there is a standard book by William G. Leavitt called Melodic Rhythms for Guitar .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It has lots of examples of so-called \"rhythm groups\" of increasing complexity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing through this book greatly improves sight-reading of rhythms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And this is also the clue: there's no shortcut.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You have to sight-read in order to learn it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In my opinion you shouldn't waste time on looking for some magic tools, just sit down with a piece of music and play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, it's important to use material that is not beyond your level, but that should be easy to find.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 3 } }, { "sents": [ { "text": "It will depend a little on the instrument.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "For example, rhythm guitar with lots of strumming will be slightly different from picking out a melody on, say, a clarinet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, the rhythmic pattern will be the same, but its execution is different, as is reading chord symbols as opposed to dots.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tapping a foot is always good, as is internalizing the basic beat with a part of your body.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My violin teacher used to sniff in place of rests, to keep them in time and place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Christine Perfect's (McVee) dad, namedropping!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It worked well, but didn't sound too good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Metronome will get a mention - sometimes it can be set for twice or thrice the speed to keep more accurate time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And of course, counting out loud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1e&a 2e&a et al.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Put the radio etc on and tap along using different patterns, there are literally thousands to choose from, and visualise them as you tap. '", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is 4 quavers, a crotchet, 4 quavers and a crotchet' sort of approach.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The good thing about this is you don't need an instrument - it could even happen as you drive along.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Explaining to the law may be tricky!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "A good idea is to start with the note that is the shortest and make that one beat and count the other notes in relation to the smallest notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So for instance if you are in 4/4 time and the shortest notes in the piece is quavers", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you make", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the quavers one beat, the crotchets 2, minims 4 and semi breves 8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is not a perfect method.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You run the risk of either having to count to 8 really fast if the tempo of the piece is brisk or playing the piece much too slow but for a means to teach the basics of rhythm to new players it has merit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you get the rhythm down you can much easier learn to play the piece in time and faster later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "Just a different sort of flashcard.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Get some blank postcards and a black marker pen and in your best musical handwriting, notate a rhythmic pattern lasting one crotchet on each card.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Each single card could contain for instance (a non-exhaustive list):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "crotchet quaver quaver crotchet rest dotted quaver semiquaver semiquaver semiquaver quaver rest Triplet quavers etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Create duplicates of each card.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then shuffle and deal four cards in a row.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Set your metronome and try to read the rhythm, looping around", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you're playing the same bar over and over again.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pick up the left-hand card and move it to the right hand end, or exchange two cards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or replace a card with one from the pack.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You get the idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 1 } } ]

{ "question": "So, there are a number of tools and strategies to learn to sight-read pitch . I mean, you just make flashcards and in a while you should be able to read comfortably all notes on all staves, right? But rhythm is a different beast, isn't it? If you make flashcards of rhythms, I suppose, you'll memorize those specific rhythms you have made flashcards for. What is your strategy? Thank you!", "title": "Tools to improve sight-reading of rhythms", "forum": "music.stackexchange.com", "question_tags": "<piano><rhythm><sight-reading>", "link": "music.stackexchange.com/questions/30599", "author": "music.stackexchange.com/users/19097/Some Dude On The Interwebs" }

[ [ "Tools to improve sight-reading of rhythms include Hindemith's book: Elementary Training for Musicians, Melodic Rhythms for Guitar by William G. Leavitt. Alternatively make flashcards by getting some blank postcards and a black marker pen and in your best musical handwriting, notate a rhythmic pattern lasting one crotchet on each card.", "The best suggestion will depend on what instrument you are playing, and you probably could still use flashcards to learn rhythms. However, there are also books available to help learn rhythms, such as Hindemith's 'Elementary Training for Musicians or William G. Leavitt's 'Melodic Rhythms'." ] ]

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[ [ "There are some books available to help learn rhythms such as Hindemith's 'Elementary Training for Musicians' or William G. Leavitt's 'Melodic Rhythms for Guitar'", "The best suggestion will probably depend on the instrument in question.", "You could just try using flashcards for rhythms too." ] ]

[ { "sents": [ { "text": "I play all 3 instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Saxophone is simply an easier instrument than clarinet overall, and is more commonly used in rock music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's the natural choice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That being said, oboists often find clarinet easier because the embouchure is a bit firmer, which they're used to.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Sax embouchure can feel awkwardly loose, especially on tenor and lower saxes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know a few excellent soprano/alto/tenor saxophonists who struggle on bari because of the looseness.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I come from brass instruments (which actually have a very similar embouchure to oboe), and I share the sentiment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I'd still recommend sax given your goals.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 11 } }, { "sents": [ { "text": "Disclaimer: former clarinet and sax player, never double reed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Edouard points out, the sax goes in octaves just as an oboe does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, it doesn't take long to get the \"feel\" of the octave+fifth that the clarinet uses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The clarinet requires a somewhat tighter embouchure than the sax, so you may find it less of a jump from the extremely tight oboe embouchure.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Now, if you're looking to play jazz/rock, I'd recommend the sax because of its timbre and range.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The Bb clarinet is pretty soprano-ish compared with alto or tenor sax (tenor is the most often used in rock), and you might look kinda funny :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "playing rock alto clarinet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then again, strap a pickup onto your oboe and you'll have a one-of-a-kind instrumentation in your rock group! :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 8 } }, { "sents": [ { "text": "Disclaimer: not an oboist, nor a clarinetist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wy guess would be that switching to sax would be the easiest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A sax has an octave key: the second octave fingerings are, basically, the same as the first octave with an additional key pressed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Clarinet’s register key, on the other hand, has a register key which goes to the 12th, not the octave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A quick look at a fingering chart seems to indicate that sax and oboe fingerings are quite similar — the main differences are around the F/F♯ and the single register key on the sax — and the fingering seems actually easier on the sax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although that could be my habits talking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8577/Édouard", "score": 2 } }, { "sents": [ { "text": "Disclaimer:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I do not play saxophone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I, personally, switched to oboe from clarinet, and it was not too bad nor difficult.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "The firmness of the embouchure for oboe in comparison to the clarinet is somewhat similar, but the clarinet is slightly less firm of an embouchure than oboe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The saxophone embouchure is a lot less firm than the oboe's, so there may be some difficulty there.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "However, fingerings may be more difficult when transitioning to clarinet, as they are generally a lot less similar to oboe than saxophone fingerings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Oboe and saxophone follows the general fingerings for instruments, when clarinet has a different fingering setup than many other instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to play jazz though, saxophone is generally more present than clarinet, except for pieces such as \"One for the Clarinets\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In more of an ensemble environment though, you would receive more clarinet solos than saxophone, in my experience.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Overall, I would just go with the instrument you like the sound of most and go with that.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51163/Steve", "score": 2 } }, { "sents": [ { "text": "Given the octave change and the embouchure tightness, the obvious choice would be oboe - soprano saxophone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That said, one of the coolest rock sounds I've seen, was Clarinet mic'd with a pickup, running through a phasor, octaver and a couple delays before hitting an amplifier pretty hard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sounded like a 70s Moog Synth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53861/Neil A Bliss", "score": 2 } }, { "sents": [ { "text": "My Take the Sax is would be easier choice you can work around the embouchure.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I play both the clarinet and saxophone (Alto and Tenor)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I struggled on the tenor for a few months due to the less firm embouchure needed on the Tenor Sax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but today the tenor is my first choice instrument...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fingering is also much easier on the sax compared to the clarinet", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65614/Walter Kagiso Matlala", "score": 2 } } ]

{ "question": "I used to play the oboe. Being in a rock band (mainly as a guitarist) I'd like to switch to the clarinet or the saxophone, as they are more useful in rock / jazz music. My question is, which one would be the easiest choise (to learn and play a simple solo for example) ?", "title": "Switch to Clarinet or Saxophone, which one is easier for an oboist?", "forum": "music.stackexchange.com", "question_tags": "<saxophone><clarinet><oboe>", "link": "music.stackexchange.com/questions/30692", "author": "music.stackexchange.com/users/18404/8odoros" }

[ [ "Saxophone is simply an easier instrument than clarinet overall, and is more commonly used in rock music. Given the octave change and the embouchure tightness, the obvious choice would be oboe - soprano saxophone. The clarinet requires a somewhat tighter embouchure than the sax, so you may find it less of a jump from the extremely tight oboe embouchure. Overall, you should just go with the instrument you like the sound of most.", "Some people would recommend picking the instrument whose sound you prefer the best. However, it is generally agreed that the saxophone would be most suitable, even if the clarinet might be marginally easier to switch to initially." ] ]

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[ 0 ]

[ [ "It is generally agreed that the saxophone would be the most suitable choice in this case.", "The clarinet might be marginally easier to switch to than the saxophone due to the embouchure.", "Some people would recommend picking the instrument whose sound you prefer best." ] ]

[ { "sents": [ { "text": "I think that in this (and most other) contexts the broad definition of the tritone makes sense, which says that a tritone is an interval spanned by six semi-tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So with this definition both augmented fourth and diminished fifth qualify as a tritone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether that note in the blues scale is written as a #4 or", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a b5 usually depends on the direction of the melody: #4 ascends, b5 descends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I believe that the reason why in the blues scale this note is more frequently called b5 is that the #4 is a very common note in many genres, and in many contexts it doesn't sound bluesy at all, e.g. if used melodically over a V/V chord (i.e. in C major over a D7 resolving to G7).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Also take the lydian scale: it has a #4 but there's no blues character whatsoever.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unlike the #4, the b5 (descending) does have that bluesy character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the blues character of that note is mainly perceived if it coexists with the unaltered 4, and then it would often descend to the 4 as a b5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Coexistence with the 5 (without an unaltered 4) does usually not generate any bluesy character (e.g., lydian).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 7 } }, { "sents": [ { "text": "To be 100% exact to the name 'tritone', it would be #4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because, if we ascend 3 tones from the root, we have #4, and not b5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The three tones would be C-D, D-E,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E-F#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although, from what I have understood, it depends on the progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Usually, the #4/b5 tritone would descend a semitone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For instance, a common progression would be Gb7-F (maj7 or 7).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since we are in F major, a cadence like F#7-Fmaj7 is really rare (not that it doesn't exist).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The most common use of the tritone is on the tritone substitution of the V7 chord, with the bII7 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wouldn't be nice to see #I 7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But to sum up, I don't think any of the two names is wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can use whichever suits you better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 5 } }, { "sents": [ { "text": "but why is b5 favoured?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know if there can be a definitive answer, but I would say that probably it's because b5 is commonly used in chord names, while #4 is not.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Being used to always call that interval b5 in the context of chords, one will naturally tend to use the same name when talking about the note itself as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19915/MarcoB", "score": 2 } }, { "sents": [ { "text": "Matt L.'s answer is an excellent one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are asking \"what should I call it, and when should I call it that?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" here's my experience.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In heptatonic (7 note scales) each number gets used once, you always call it a #4 if its the fourth note in the scale, e.g. in Lydian, or for a minor example, in the 4th mode of harmonic minor (essentially Dorian with a #4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If its the fifth note of a heptatonic scale you must call it a b5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Half Diminished scale (aka Locrian mode) is a good example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As to what to call it in the Blues scale, I see it coming down to genre more than anything else.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In Rock, Blues, and Metal its always the b5.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I see Jazz players, websites, and theory books calling it the sharp four more and more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are in doubt and at a jam session with Jazz players , just call the note the sharp 4 , with Rock or Blues guys/gals call it the flat five.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With Metalheads I might call it the devil's tone, or diabolus in musica, just because its more fun to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Jazz is predominantly Major; the #4 (with no 4) gets used quite a bit because it is not dissonant against the 3 in a major chord (but the natural 4th is).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are virtually no scales in rock where you have to call it a sharp four, the only exception that comes to mind is the Double Harmonic scale (typically used for Dick Dale inspired Surf rock).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20000/Jay Skyler", "score": 2 } }, { "sents": [ { "text": "The whole POINT of a tritone is its ambiguity!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, in a system of harmonic analysis built on the \"pile of thirds\" model, I can see why a modified 5th is preferred to a modified 4th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find insistence that the indisputably aurally flattened b10 must be labelled #9 rather harder to take!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } } ]

{ "question": "Generally, in Blues and jazz, the oft-used tritone (C to F#/Gb) is referred to as a b5. Why is this a better term than #4? In the Blues scale, there will always be two notes of the same name, but why is b5 favoured? Possibly to match the b3 and b7?", "title": "The Tritone - is it a #4 or a b5?", "forum": "music.stackexchange.com", "question_tags": "<theory><notation>", "link": "music.stackexchange.com/questions/31952", "author": "music.stackexchange.com/users/2808/Tim" }

[ [ "the reason why in the blues scale this note is more frequently called b5 may be that the #4 is a very common note in many genres, and in many contexts it doesn't sound bluesy at all, e.g. if used melodically over a V/V chord (i.e. in C major over a D7 resolving to G7). It may be because b5 is commonly used in chord names, while #4 is not. In Rock, Blues, and Metal its always the b5. ", "The reason this is referred to as a b5 is probably more related to genre and convention than any particular rule." ] ]

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[ [ "The reason this is referred to as a b5 is probably more related to genre and convention than any particular rule." ] ]

[ { "sents": [ { "text": "Unless you were tuning the strings well above the normal pitches for standard tuning (which you say you were not trying to do), this was caused by a defect with the guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Tuning a guitar up to standard pitch should not cause the bridge to come off.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The defect may have been caused by previous attempts to tune the guitar strings too high, which causes greater tension on both the strings and the saddle/bridge.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Or it may have been caused by extreme changes of heat of humidity, which would affect the glue which fixes the bridge to the body.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I've usually seen this happen when my pupils' guitars have been left next to a radiator for a long period of time.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is possible, of course, that you were not tuning the strings to the correct pitches.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A common mistake is to either tune strings to the intended pitch of a different string, or trying to tune up to a note when already sharp, instead of tuning down (in other words tuning in the wrong direction).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If over-tightening the strings is the reason the bridge has come off your guitar, this can be avoided in future through regular tuning; this ensures that strings do not move far from their intended pitch, and so makes it easy to see whether they should be tuned up or down, and so avoids tuning them in the wrong direction or towards the wrong pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9198/Bob Broadley", "score": 6 } }, { "sents": [ { "text": "A possible cause, apart from a faulty gluing of the bridge, is that you were an octave too high.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] }, { "text": "Seen it happen too often, using a tuner that tells you the target note, but for some reason, you've gone to an octave above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus 4x the tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also seen it happen after it's been left in a place too hot - rad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", sun, conservatory, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, you may have the strings' numbers mixed -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the thin end is E,B,G, the fatter ones are E,A,D, all from the outside.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Seen that before, too...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The solution, even if it's a cheapie, is 2 pack epoxy resin to re-fix the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's worked every time for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "I'm not sure if it's a manufacturing defect as much as a design flaw.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This should not even be possible for a steel string acoustic.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The ball ends should be held down by the bridge plate underneath the top, not the bridge itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See this image: Where did you go wrong?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm sorry to say it looks like you'll want to save up a little more for your next guitar to a get a proper design.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 4 } }, { "sents": [ { "text": "Perhaps I have missed this in the other replies but one obvious thing to check would be the gauge of strings you were using.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "It's not clear from your question whether you were tuning your current set of strings or you had changed to a new set, but obviously if you were to tune to standard E with a set of strings that were too heavy for how your guitar is set up, the sheer amount of tension could cause the bridge to break like this or the neck to bow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20154/Stevie", "score": 3 } }, { "sents": [ { "text": "(WARNING: only do this if a guitar has had all the strings taken off for some reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For routine string changes, as Tim says below swapping one at a time will reduce flex on the soundboard, and anyway is quicker.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One tip when stringing in the future is to tighten the strings together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words don't, say, start with all slack strings and tighten the 6th string fully, then the 5th string fully, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead bring all of the strings to half tension, then raise the tension in the the centre ones first and work to the outer strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The aim of this is to prevent the bridge being \"pulled\" too heavily from one side.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've seen this advice for use with classical guitars, but it's probably a good precaution for steel-strung acoustics too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18664/Andy", "score": 2 } }, { "sents": [ { "text": "I have owned many guitars in my life.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This has happened to me once before.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You did nothing wrong.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 3 ] ] }, { "text": "The glue joint in your bridge failed.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is a manufacturing defect.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If your guitar is under warranty, appeal to the manufacturer and get warranty service.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See if they will pay for repairs, or replace the guitar with another one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise you are going to have to pay a professional guitar repair technician to re-glue the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There can be two reasons for this failure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One is that the bridge was not glued down correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other is that the neck of the guitar is set at the wrong angle to the body and top, resulting in the bridge having to bear more tension than it is designed to bear, leading to the failure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } } ]

{ "question": "I was trying to tune(standard tuning) my acoustic guitar with a digital tuner that captures the playing through a microphone and shows the note/frequency played on its LED screen. I was completely focused on getting the notes right that I forgot I was increasing the tension in the strings which eventually made the bridge come off. Where did I go wrong?", "title": "Acoustic guitar's bridge had come off while tuning", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><acoustic-guitar><bridge>", "link": "music.stackexchange.com/questions/32046", "author": "music.stackexchange.com/users/8582/whereDragonsDwell" }

[ [ "Tuning a guitar up to standard pitch should not cause the bridge to come off. Unless you were tuning the strings well above the normal pitches for standard tuning (which you say you were not trying to do), The bridge coming off was caused by a defect with the guitar. The defect may have been caused by previous attempts to tune the guitar strings too high, which causes greater tension on both the strings and the saddle/bridge. A possible cause, apart from a faulty gluing of the bridge, is that you were an octave too high.", "It is quite possible that you did nothing wrong in this case. This would seem to be the result of a design flaw or a manufacturing defect. However, it is possible that this was caused by changing the gauge of strings or previous attempts to tune the strings too high." ] ]

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[ [ "This would seem to indicate either a design flaw or a manufacturing defect.", "This could have been caused by previous attempts to tune the strings too high.", "This could have been caused by changing the gauge of the strings being used.", "It is quite probably that you did nothing wrong in this case." ] ]

[ { "sents": [ { "text": "The pickup you'd emulate with a lowpass filter would be the neck pickup since it picks up fewer harmonics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it can't really be replaced by a low-pass filter since every string would need a different low-pass filter to show a similar composition of harmonics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also the neck pickup has quite higher gain than the low-pass-filtered bridge pickup and working with lower gain means a higher noise floor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And while the neck position gives a different composition of harmonics for the sustained string operation, short-term action like pickup noise is still present und putting too much of a filter on those takes from the \"presence\" of the action.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pickup position has most of its effect on the brightness of sustained notes but does not equally affect the onset.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20523/user20523", "score": 11 } }, { "sents": [ { "text": "If there was only one pup position, it wouldn't be as simple to blend.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With two or three, there are options - admittedly on most Strats all combinations are not available, but they can be, giving a wider sonic choice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, more guitars these days have different pups at different positions, giving even more sound choice, and that's before we start on about single coil/ humbuckers, and coil taps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 6 } }, { "sents": [ { "text": "I've never really experimented with particularly expensive guitars, but the sound of a bridge humbucker (a pickup with two coils and two sets of opposing magnets close together) is loaded with a lot more upper harmonics than the sound of a single-coil neck pickup, which adds sonic interest when playing a lead part, but makes strummed chords sound cluttered; low-pass filtering a humbucker won't help because anything that will take out the higher harmonics of lower strings will also take out the lower harmonics of upper strings; cranking down the tone control on a humbucker doesn't give a clear sound, but instead a sound which is simultaneously muddled and muffled.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "At least on the guitars I've played with, the big advantage of having a second single-coil pickup doesn't come from the fact that it picks up sound differently, but rather from the fact that the neck and middle pickups together have anti-phase wiring and magnets so they have the noise-cancelling properties of a humbucker, but the wider space between the associated magnets means that the combination of neck and middle pickups will otherwise sound much like a single-coil pickup.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "As to whether it is better to have neck and middle pickups with anti-phase wiring and magnets, or whether one could omit the magnets from the middle pickup and simply use a coil with no magnets for noise cancellation, I don't know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By my understanding of the physics, the noise-cancelling properties of a humbucker stem from the use of coils wound anti-phase, and the harmonically denser sound stems from fact that using two sets of magnets greatly reduces the open-air portion of the magnetic flux path, increasing the sensitivity to variations in string distance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would think it would be useful for someone to make a pickup that had two coils just like a humbucker but with only a single set of magnets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would think such a thing should be cheaper than a humbucker, but I've never heard of anyone making one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 4 } }, { "sents": [ { "text": "Voltage comes from the pickups and the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The metal interacts with the magnetic field and disrupts", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it INDUCING voltage at frequencies the strings vibrate at.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Where the string is placed over the pickup (or vice versa), determines what fundamentlas and harmonics reach full volume or small/no volume.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Imagine a pickup directly under the second harmonic's center node.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You now have full voltage for the fundamental frequency and as close to zero voltage as makes no difference for the second harmonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fourth and sixth will also be similarly of low/no voltage, and 3rd, 5th, would be full voltage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Knowing this, you'd want the pickup to be offset slightly from center to try to 'capture' all the frequencies at some relatively equal voltages, for a 'full' sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the other hand, say you want a pickup which loses some harmonics, you place it in the spot to lose those harmonics, and place a second one in a position to get/lose the opposite harmonics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now you have both pickups producing opposite values, and this allows you to select either the former or latter for different tonal qualities, or blend them together to get all of it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47208/Whoaboy", "score": 4 } }, { "sents": [ { "text": "In addition to what others have said, one major difference between the bridge position and neck position is that on the neck position the pickup sees a wider string amplitude.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "This is an important detail for genres such as heavy metal, where a tight, well defined rhythm is often the goal, and it's much easier to get this type of sound from the bridge position that sees short amplitudes that are easy to mute when necessary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you try to achieve the same tight, well defined rhythm on the neck position, you'll find out that: The wider string amplitude feels muddy and floppy (compared to bridge position).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's harder to get a well defined, stecatto effect when you mute the string using standard palm muting technique that involves resting your hand on/near the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead of a quick termination of the vibration, there's a noticeable low end \"halo\" that lingers on for a moment after you apply your palm to the string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This will force you to compensate by finding a new spot for palm muting, a bit further away from the bridge position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } } ]

{ "question": "The reason seems obvious at a first glance: To produce different sounds. But really, bridge pickups can be emulated with a low-pass filter. If so, additional pickups just increase the price of a guitar without affording any advantage. Is there any significant reason for the additional pickups?", "title": "Why do electric guitars have so many pickups?", "forum": "music.stackexchange.com", "question_tags": "<electric-guitar>", "link": "music.stackexchange.com/questions/32578", "author": "music.stackexchange.com/users/7402/PaulD" }

[ [ "On many guitar, the big advantage of having a second single-coil pickup doesn't come from the fact that it picks up sound differently, but rather from the fact that the neck and middle pickups together have anti-phase wiring and magnets so they have the noise-cancelling properties of a humbucker, but the wider space between the associated magnets means that the combination of neck and middle pickups will otherwise sound much like a single-coil pickup. ", "There are a number of reasons for having multiple pickups. Firstly, each pickup will produce a sound with its own harmonic make-up. Secondly, each pickup with produce a signal at a different amplitude. And finally, using pickups in combination can provide noise-cancelling effects." ] ]

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[ [ "The different pickups have different harmonic make-ups.", "The different harmonics have different amplitudes in the signal.", "Using pickups in combination can also have noise-cancelling effects." ] ]

[ { "sents": [ { "text": "The main reason for writing a unison like this has little to do with fingering and everything to do with the music's structure.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Unisons in keyboard music quite obviously use the same key, so their point is to show how the voice leading works.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the example above, they show that two lines in contrary motion meet at the tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I've mentioned in my comments, a rest could be substituted for one of the notes in a unison, but your understanding of that line's phrasing would change, and hence your presentation of the phrasing might very well change as well (for example, by shortening the last note before the rest so that it doesn't give the impression of meeting the other line in a unison).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is no means unusual that one of the notes in a unison may have a shorter note value than the other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This may be dictated by motivic or thematic requirements.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'll give an example from J. J. Froberger's Ricercar I (FbWV 401).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this excerpt, the first bar-and-a-half conclude the previous section, and a new one starts at the end of m.87 with a statement of the ricercar's subject (in blue) matched with a short second subject/motif (in green).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Momentary unisons are marked red.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first one is a bit unusual in that the entries of the unison are staggered.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You would normally play this unison as a crochet before the bar line, followed by a dotted minim after the bar line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(On an organ, it would be hypothetically possible to play both voices separately on different manuals, although I doubt a performer would - the inner voices shift between hands, and there isn't really any tidy spot to bring both hands back together on the same manual.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second unison is pretty straightforward: you would hold the F for the complete measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But you should be able to see why Froberger wrote it this way: the individual voices make sense as written, and you want to try to give an impression of those lines as written, even though you will need to fake it a bit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 16 } }, { "sents": [ { "text": "Just play them with one hand.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "The reason for writing this is so you can clearly see where both lines go.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 9 } }, { "sents": [ { "text": "Another reason for notating the same note on both hands is that while both notes would represent the same key on a piano keyboard, it's possible the piece of music might be performed on something other than a solo piano.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Some keyboard instruments such as organs and harpsichords are constructed with more than one manual (keyboard), and some musicians stack synthesizer keyboards so as to allow two keyboards to be played simultaneously (using one hand for each).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Additionally, one or more of the parts on a piano score may sometimes be played by other instruments in addition to or instead of the piano.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 3 ] ] }, { "text": "Even if a piano would not be able to play the B3 in the right hand and left hand as separate notes, writing the note in both parts lets those who play instruments that could perform both notes simultaneously know that they should do so.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 7 } }, { "sents": [ { "text": "Actually, I think the main reason for this is simply due to proper notation of the voices, rather than having to do with which hand plays the note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "To elaborate, both notes rest on the same physical key on the keyboard, however it is meant to convey to the performer that the lower voice and upper voice both cadence on B.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I really don't believe this was done to a)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "encourage either hand to play it or b) easier to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My answer is obviously in agreement with Patrx2's comments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19832/lobi", "score": 4 } }, { "sents": [ { "text": "There are probably a couple reasons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Continuity in the score.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The music looks better and is easier to read when concurrent notes are listed on both staves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Flexibility.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some people will prefer playing the notes with the right hand, others will prefer playing them with the left, and some might even like trying to play them with both hands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This leaves the performer with options.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Also, this heightens the importance of playing with the correct hand in scores which do require a certain hand to play a note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If all scores arbitrarily assigned a hand to play the notes, then ones which had concrete reasons for choosing a hand would be hold less significance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20718/Jeremy", "score": 3 } }, { "sents": [ { "text": "I'm accustomed to re-instrumenting pieces, and that unison would behave differently from the rest under the obvious re-instrumenting.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 3 ] ] }, { "text": "Start thinking two horns rather than two hands", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it suddenly becomes clear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(When playing this piece as horns, we'd have to deduce the bass clef melody line and drop the other notes from chords.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23501/Joshua", "score": 3 } }, { "sents": [ { "text": "This question becomes very interesting when you start looking at articulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is very nice to articulate a fugue subject so that it is more recognizable every time it occurs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The subject of the first fugue of the Toccatta in D Minor (BWV 913) begs to have the first note a tiny bit stacatto.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Deet Dah--- Dah -dah- dah- dah- dah ...\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But some entries of the subject overlap the first note in unison, making it impossible to shorten the note, as the same note is already playing in another voice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The unison overlaps in this fugue are all over the place, I hadn't really seen this many before, which may be because it was composed on the organ.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This made me think that it was meant to be played on two manuals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it's not!Christine Schornsheim", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "plays it in a Youtube video, and she plays everything on the lower manual.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The overlaps have nothing to do with playing on different manuals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would bet that people who play this on the organ play everything on one manual as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since seemingly all of Bach's music is didactic, then I would say as keyboard players we need to master this technique of unison playing or quickly repeating a note with a different finger so that we can bring out the phrasing as it was intended.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64148/Paul", "score": 3 } } ]

{ "question": "Why some notes in the piano are written the same for the left and right hand ? What is the purpose of this ? And how do we play them ? Do we just choose one hand to play them or do we play them really in both hands which is pretty hard and not comfortable ?Here is an example of what I'm talking about See the last two notes Si Si are both wrote in the left and right hand .", "title": "Same note to be played with both hands?", "forum": "music.stackexchange.com", "question_tags": "<piano><notation>", "link": "music.stackexchange.com/questions/32898", "author": "music.stackexchange.com/users/9121/Was.Francis" }

[ [ "The main reason for writing a unison like this has little to do with fingering and everything to do with the music's structure. This is simply due to proper notation of the voices, rather than having to do with which hand plays the note. To elaborate, both notes rest on the same physical key on the keyboard, however it is meant to convey to the performer that the lower voice and upper voice both cadence on B. Additionally, one or more of the parts on a piano score may sometimes be played by other instruments in addition to or instead of the piano. Some keyboard instruments such as organs and harpsichords are constructed with more than one manual (keyboard), and some musicians stack synthesizer keyboards so as to allow two keyboards to be played simultaneously (using one hand for each). ", "This is most likely to be done in order to clearly illustrate the structure and voicing of the piece. It provides the performer with options and it is perfectly acceptable to play the note with one hand. This may also have been written in this way because the piece was not originally or subsequently intended for the piano." ] ]

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[ [ "This is most likely to be done in order to clearly illustrate the structure and voicing of the piece of music.", "You can simply play these notes with one hand.", "This leaves the performer with options on how to play the piece.", "The piece may not be originally or subsequently played on the piano." ] ]

[ { "sents": [ { "text": "Here is a link to the Steve Vai song where he plays alongside one of his sisters' conversations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2nd Question: I'm no linguist, but I would say that singing is merely speaking in a rhythm using elements of music, like harmony, rhyming, and counterpoint.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14866/Jason P Sallinger", "score": 3 } }, { "sents": [ { "text": "I'm a bit of a stickler for language, so I would say that it is plainly impossible to play what someone says, though it is possible to imitate how they say it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Given today's fancy electronics, it should be a straightforward exercise to analyse and transcribe the various pitches, durations, and dynamics (etc) employed in speech.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Composers were imitating the spoken word long before today's electronics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider the call and response style of writing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When we hear such a style being played our mind immediately says : Those instruments are talking to each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our formal theory of music and our subjective experience of listening to music both identify music as a language .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, a composer writes phrases, etc..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "According to the contemporary philosopher of music, Jerrold Levinson : Intelligible music stands to literal thinking in precisely the same relation as does intelligible verbal discourse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, music is a language we interpret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13453/Nick", "score": 2 } }, { "sents": [ { "text": "There have been musical compositions that transcribe the pitches in the patterns of human speech made in samples and recordings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Steve Reich's \"Different Trains\" is a well-known classical composition that has the members of a string quartet (the Kronos Quartet) playing the pitches transcribed from brief samples of recorded speech triggered by a sequencer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "Sometimes, I do this with pupils.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We have a sort of conversation, where one asks a question, and the other answers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "we start with a simple question, which then gets played in a particular key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the answer is said, then played, using the rhythm of the words.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually, if it's going well, the conversation continues with question and answer just in musical phrases.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good fun, which translates words and their rhythm into music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As far as transcribing is concerned, we don't go that far.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although it wouldn't be difficult.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "Look up \"vocoder\" , where a Bell Labs engineer developed a special type of keyboard musical instrument (with foot pedals) that could play recognizable human speech.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's less possible with typical Western musical instruments and scores because they don't play suitable timbres or notate the right set of (non-equally tempered, etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"notes\" or sound elements.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1489/hotpaw2", "score": 1 } } ]

{ "question": "Why it is so hard maybe impossible to play what people speak ? Is what people say transcribable ?If no then,What prevents us from transcribing what people speak ? What is the difference between people singing and people speaking ?", "title": "Why can't we play what people speak?", "forum": "music.stackexchange.com", "question_tags": "<transcription>", "link": "music.stackexchange.com/questions/33921", "author": "music.stackexchange.com/users/9121/Was.Francis" }

[ [ "There have been musical compositions that transcribe the pitches in the patterns of human speech made in samples and recordings. Given today's fancy electronics, it should be a straightforward exercise to analyse and transcribe the various pitches, durations, and dynamics (etc) employed in speech.", "It is generally considered impossible to play what someone says but it is certainly possible to imitate it. That said, modern technology is capable of transcribing human speech and there have been attempts to use this in music compositions." ] ]

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[ 0 ]

[ [ "It is generally considered impossible to play what someone says but possible to imitate it.", "Transcribing speech is certainly possible using modern technology and there have been attempts at this in musical compositions previously." ] ]

[ { "sents": [ { "text": "Most pieces have the melody played by R.H. and accompaniment by L.H.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So we piano players get used to this concept.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the other way round, and the L.H. is playing the tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Our left hand is not au fait with this, so it's tricky.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could try, for a bit of fun, swapping hands (and either octaves, or crossing)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it's more of a 'normal' situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, once you realise the change of use of hands, and practise slowly, with dynamics, it should come together.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Try to make the R.H. do the boring chug, chug, chug, chug in, well, quite a boring way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "Slow down until you can play it (even if it means playing extremely slowly).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then gradually increase your speed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/138/Rein Henrichs", "score": 1 } }, { "sents": [ { "text": "Play the two hands separately slowly, noticing whether you're playing the melody or the accompaniment.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16968/user4386709", "score": 1 } }, { "sents": [ { "text": "Before you do ANY dynamics, you must be able to play the piece with both hands almost flawlessly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Dynamics are there to be added after the technique has gotten perfected.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play like a robot a few times, then once you've mastered that, you must accent the left hand melody more than the right.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Again, no dynamics other than that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you've gotten that down, then you can start adding p/f and whatever crescendos/diminuendos you need.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21532/Leah", "score": 1 } }, { "sents": [ { "text": "You have to understand why playing dynamics make you fail both hands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My guess is that it makes you anticipate the next notes and because you are probably too shaky in both hands, you fail in putting them together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try combinations of the following:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "continue practicing hands separately with dynamics play slowly both hands without dynamics, and with play one measure at a time, then 2, then 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "End on the last note of each measure, or on the first note of the next", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(this will develop your ability to not race ahead and control what you are playing at a given time) play only the G of the right hand with the left hand (this will make it easier for your right hand and allow you to work out the other challenges (rhythm and dynamics)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "take a break and do it again!!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7401/Lolo", "score": 1 } }, { "sents": [ { "text": "Make sure you are practicing the dynamics when practicing separately too.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Generally, just play slowly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Don't play the subsequent notes until your RH has relaxed and is ready for it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 0 } } ]

{ "question": "What's the best way to practice dynamics in the music sheet below? I can play this part with both hands but as soon as I try to add dynamics it falls apart - I either stop playing one hand, or one hand does the same thing as the other hand instead of doing its part. Any suggestion?", "title": "How to practice dynamics in this piano song?", "forum": "music.stackexchange.com", "question_tags": "<piano><sheet-music><dynamics>", "link": "music.stackexchange.com/questions/34102", "author": "music.stackexchange.com/users/2116/laurent" }

[ [ "Before you do ANY dynamics, you must be able to play the piece with both hands almost flawlessly. To practice the dynamics, play the two hands separately slowly, noticing whether you're playing the melody or the accompaniment. A general tip is to play slowly to practice. Play like a robot a few times, then once you've mastered that, you must accent the left hand melody more than the right.", "To practise dynamics, you should practise the piece as slowly as necessary to play it flawlessly. Make sure you practise dynamics when practising the separate hands too." ] ]

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[ 0 ]

[ [ "To practise dynamics, you should practise the piece as slowly as necessary to play it flawlessly.", "Make sure you practise dynamics when practising the separate hands too." ] ]

[ { "sents": [ { "text": "From the Wikipedia article on Time Signature : 4/4: Widely used, rock, country, blues, funk, pop 2/2: Marches and musical theater", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "2/4:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Polkas and marches 3/4: Waltzes, minuets, scherzi, country and western ballads, R&B, pop 3/8:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same as above 6/8:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Double jigs, polkas, sega, salegy, tarantella, marches, barcarolles, Irish jigs, loures, and some rock music (half of all Chevelle songs, seemingly)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "9/8:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Triple jigs, rare (famously used in The Ride of the Valkyries )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "12/8:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Slower blues (shuffle), Do-wop, example: Dazed and Confused by Led Zeppelin", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 4 } }, { "sents": [ { "text": "Do you think specifically about 3/4, or time signatures in general?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pop, rock and metal are almost always 4/4, and rarely change meter, though there can be exceptions (e.g. Iron Maiden - Number of the beast alternates between 4/4 and 6/4, Oingo Boingo little girls - alternates between 4/4 and 2/4).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Great exceptions are postrock and avant-garde metal, where there are no specific rules regarding meter, and changes of meters can be common.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dubstep (both old school and brostep) are mostly 4/4 (as far as I know), except maybe some post-dubstep, though I can't think of an example right now.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And modern electronic dance music is commonly 4/4 (e.g. Trance, EBM, IDM).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Though, nothing of this is strictly rule, look for example at chapter about meters in EDM in this book.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Derivatives of drum'n'bass music such as breakcore use variety of different time signatures, and it mostly depends upon the producer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Venetian snares writes his music in 7/4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Igorrr uses in some songs duple meter, while in others triple (e.g. Igorrr & Ruby My Dear - Barbecue), and also their combinations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lauren Bousfield from Nero's Day", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At Disneyland alternates between duple and triple meters in many of his songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21630/Gitnik", "score": 2 } }, { "sents": [ { "text": "In the Baroque style period (roughly 1600–1750) the rhythms of a number of folk dances from all across Europe were incorporated into instrumental compositions -- at the same time, what we now know as ballet was being developed in France.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are numerous Baroque dances and rhythms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many great composers wrote famous instrumental pieces called suites which have numerous short movements one after the other, each in a different rhythm and meter associated with a particular dance style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These pieces are still performed today.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This list is from the Wikipedia article on Baroque dance .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Click on the link and you can go to individual articles on each of the dance forms in this list to read about the rhythm associated with each.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Allemande Bourrée Canarie (canary)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chaconne Courante Entrée grave Forlane (forlana) Gavotte Gigue Loure Menuet (minuet) Musette Passacaglia Passepied Rigaudon Sarabande Tambourin Further details of a more musical nature can be found at this Wikipedia article on the Baroque suite .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "There is a long list of styles of music with particular distinct rhythms and time signatures at the Wikipedia article on Ballroom Dance .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is to say that these are competition styles of dance , but each dance has its own style of music that goes along with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here is a partial list from that link", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Waltz:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3/4 time Tango:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4/4 time Viennese Waltz: 3/4 time Foxtrot: 4/4 time Quickstep: 4/4 time Samba: 2/4 time Cha-cha-cha: 4/4 time Rumba: 4/4 time Paso Doble: 2/4 time Jive: 4/4 time Boogie-Woogie: 8/8 time ( \"eight to the bar\" ) Bolero Mambo", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "Here is a long and detailed list of many Bulgarian folk dances and styles of music (going back centuries) which make use of various odd-time signatures like 7/8, 11/16, 5/8, and many others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://en.wikipedia.org/wiki/Bulgarian_dances", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } }, { "sents": [ { "text": "If you are talking about stylistic appropriate time signatures you can also add that Irregular Time Signatures are a distinct characteristic of modern music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They where extremely rare before the Modern scene was invented.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 0 } } ]

{ "question": "A waltz is always played in 3/4 time, but are there any other types of music that are associated with specific time signatures?", "title": "Which time signatures are associated with particular types of music?", "forum": "music.stackexchange.com", "question_tags": "<terminology><time-signatures>", "link": "music.stackexchange.com/questions/35752", "author": "music.stackexchange.com/users/21787/michaeljan" }

[ [ "Pop, rock and metal and dubstep are almost always 4/4, and rarely change meter, though there can be exceptions (e.g. Iron Maiden - Number of the beast alternates between 4/4 and 6/4, Oingo Boingo little girls - alternates between 4/4 and 2/4). From the Wikipedia article on Time Signature : 4/4: Widely used, rock, country, blues, funk, pop 2/2: Marches and musical theater.", "A wide variety of genres, such as rock, pop, metal and dubstep, all use 4/4 time signatures regularly." ] ]

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[ [ "A wide variety of genres, such as rock, pop, metal and dubstep, all use 4/4 time signatures regularly." ] ]

[ { "sents": [ { "text": "Can't use feet well, but if you could move a knee to one side, it would be a simple lever attachment to the pedal, maybe from your wheelchair.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Look at knee levers that pedal steel players use.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "You only really need the damper pedal -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the 'soft' pedal could be added later, but it's not as vital as the sustain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 12 } }, { "sents": [ { "text": "This may not be as \"simple\" as it first appears, because (apart from the most basic playing technique) the piano pedal action is not just an \"on-off switch\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You need to control the speed of movement, and not necessarily depress the pedal fully.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also the pedals need quite a lot of force to operate them, which is no problem for normal human feet, but would require some \"serious engineering\" to do accurately (and safely, reliably, and silently) with an electric motor Unless you really can't bear to part with the actual gifted piano, you might consider a Yamaha Disklavier, which is a conventional piano plus the mechanics for full MIDI control (of everything, not just the pedals).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They aren't cheap, but presumably your existing piano would offset some of the cost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could then use almost any sort of MIDI controller to operate the pedals - possibly even a set of \"digital piano pedals\", perhaps mechanically modified to work with the foot movement that you have.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are plenty of companies who sell kits for the opposite purpose - i.e. to convert an acoustic piano into a source of MIDI data, to record a live performance - but that is not what you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know of anybody (apart from the Disklavier) selling something that would convert an acoustic piano to be played by MIDI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Incidentally, even the Disklavier mechanism is quite \"wimpy\" compared with the old-style pneumatically operated \"player pianos\" controlled by piano rolls.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This http://www.soundonsound.com/sos/aug00/articles/ballet.htm is the saga of some of the problems recreating an avant-garde piece written for 16 synchronized player pianos (!!!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "using a stage full of Disklaviers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 6 } }, { "sents": [ { "text": "I'm not sure if this is any help, but I would probably approach the problem first by suggesting you swap out an acoustic piano for an electronic keyboard.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This allows for other controllers to be used in non-standard ways (usually using the MIDI control standard).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might find that this is quite technical to start on, I'm not sure where you stand with music technology.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could try a MIDI breath controller (for instance http://www.tecontrol.se/products/usb-midi-breath-controller ), to see if you can map blowing into a tube to the sustain control.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With less technical jiggery-pokery you could also use a standard sustain pedal (such as this http://www.guitarguitar.co.uk/keyboards/detail.asp?stock=12052310152332&gclid=CM_038GxtccCFa-WtAoduwkGug ).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "With electronic instruments, the pedal can be a lot more easily re-located, so you could try pressing the pedal with another part of your body (putting it under your arm, or rigging up some way to press it with head movement, perhaps).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I don't know of any way you could achieve either of these solutions with a standard acoustic piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12482/AJFaraday", "score": 4 } }, { "sents": [ { "text": "There are instruments like harpsichord or clavichord that seldom (or even never) had pedals similar to the pedals of the modern piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the music for these instruments is often played on a piano now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suggest to practice without pedals and perfect your skill to replace them by manual action where needed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pedals just help to control the duration and volume.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both can be achieved through the manual keyboard as well, while maybe more difficult.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may think about your repertoire but not all even really good pieces absolutely require pedals for playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8737/h22", "score": 3 } }, { "sents": [ { "text": "Depending on the repertoire you want to play you might consider playing Mozart's fortepiano .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "It is not always built with pedals; sometimes hand stops or knee levers were used instead - Wikipedia The music written for these instruments tends to differ in the way that the 'pedals' are used, they might be held on for longer passages.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If music of this period did intrest you, then the fortepiano would be the authentic way to play it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23098/Jekowl", "score": 2 } }, { "sents": [ { "text": "Look at:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.pianoman.nl/pedal-adaptor-for-the-disabled-pianist.html", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And you see a solution that I have developed with good results.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37007/Michiel", "score": 2 } } ]

{ "question": "I have a piano, I am disabled, wheelchair kinda disabled, I can move my feet but not use the pedals, that task is kinda complicated. Considered buying some kind of a car hand control, like this , not sure if it works, and besides say I want to use the first pedal, to hold notes, means i have to keep holding it, and only 1 hand to play music. Is there tools or ways to solve that problem?", "title": "How to use Piano pedals without using the foot?", "forum": "music.stackexchange.com", "question_tags": "<piano>", "link": "music.stackexchange.com/questions/36008", "author": "music.stackexchange.com/users/6287/Lynob" }

[ [ "There are a number of options for disabled piano players who cannot use the foot pedals. They include standard sustain pedal, swapping the acoustic piano for an electric keyboard, knee levers, or using Mozart's fortepiano.", "There are a few different ways of solving this problem. You could consider buying an electronic piano and then using more manageable pedals that could be operated by other parts of the body. Similarly, you could look into a knee-lever to operate the pedals with. As a last resort, you might want to take up playing a Mozart Fortepiano." ] ]

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[ 0 ]

[ [ "You could consider buying an electronic piano and looking at more convenient pedal types that could even be operated by other parts of your body.", "You might want to take up playing a Mozart Fortepiano.", "You could look into the possibility of using a knee-lever to control the pedals." ] ]

[ { "sents": [ { "text": "I leave all ten of my acoustic guitars tuned all the time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In most cases it is not a problem to leave your guitar under the full tension of standard tuning for days or even weeks at a time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, if you know you will be storing a guitar for an extended period of time (months) without playing it or changing the strings, it is probably a good idea to de-tune or reduce the tension on the strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Even with the truss rod compensating, constant tension over an extended period of time can in fact warp the neck, particularly if atmospheric conditions (temperature and humidity) are not ideal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a Yamaha FG-110 that I left stored in it's case in a closet for years without loosening the strings and the neck warped beyond the truss rod's adjustment range and the guitar became unplayable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that the truss rod exerts tension on the neck as well", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so if you remove much tension from the strings you should also loosen the truss rod to remove that tension - thereby leaving the guitar in a neutral state with zero tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is for long term storage only.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Temperature and humidity levels must also be optimized and monitored for long term storage of guitars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But tuning and detuning daily could potentially exert excess wear on the tuning gears and all the moving of the neck back and forth", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "could weaken the neck like bending a stick back and forth until it breaks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tightening and loosening the strings daily might also exert extra stress on the strings and damage them or reduce their life.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So to your friend, it's possible that detuning the guitar and re-tuning every day could do more damage to the guitar and strings than simply leaving them in a constant state of tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know any guitarist who make a habit of detuning their everyday guitar's every night.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'm not going to do it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And I don't think you should either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16897/Rockin Cowboy", "score": 25 } }, { "sents": [ { "text": "Imagine what chaos there would be in a guitar shop close to closing time every day!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And even worse at opening time!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just smile sweetly at your friend, and let him carry on wrecking his guitar and wasting his time, but realise that actually you know far better and leave your guitar in tune for the next day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've done it with about 20+ guitars for 50+ years, no problems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wasn't April 1st that he mentioned it, was it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 17 } }, { "sents": [ { "text": "Leave it tuned, not only will the strings thank you for allowing them to 'settle in' to their proper tension (think of repeatedly bending a coat-hanger to break it) but the machine head gears will also not suffer as much slippage in the long run.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The wood and glue is also better off staying under tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only time where all the strings should be removed or totally loosened is during major repairs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When replacing all the strings, do it one at a time", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is advisable to loosen all the strings by no more than a half a turn or so (enough so that when picked they still barely carry a note but still are tight.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "when you will be changing altitude quickly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think flying; in an airplane and the instrument is not carried in the cabin, this is due to rapid atmospheric pressure changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have to store your guitar for any length of time (months or more) loosen the strings as above and make sure that it is in a climate controlled environment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When tuning your guitar use an electronic tuner, a tuning fork, or some other reference tone until you have some practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's very easy to gradually allow the guitar itself to rise in pitch, therefore over tightening all the strings and stressing out the entire guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "hope this helps!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23182/Scritter", "score": 5 } }, { "sents": [ { "text": "Yes you can leave your guitar tuned over night and it is what most if not all guitarist do.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The neck of your guitar should be able to take being in tune for a period of time and the tension put on it and if not, there are more serious issues with your guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 3 } }, { "sents": [ { "text": "Your friend has heard something about old-fashioned longbows which must be unstrung after use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A yew bow will deform if it is left for a long time under full tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus it becomes less useful as a bow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When it comes to guitars, they are designed to be under tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact (depending on the type of instrument) the neck may form a reverse curve when the strings are removed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unless you intend using your guitar to shoot arrows, I recommend keeping the strings under tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Longbow -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From Wikipedia, the free encyclopedia", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21436/chasly - reinstate Monica", "score": 2 } }, { "sents": [ { "text": "Yes you can.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Actually periodically (day by day) tune and detune the guitar hundred times a year and thousand times by its lifecycle may harm your neck way with much greater possibility than leaving it alone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tuning and detuning is always a kind of stress for the neck you do not want to do this unnecessary thousand times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20657/g.pickardou", "score": 1 } } ]

{ "question": "I have an acoustic guitar and I always leave it tuned over night until someone told me that it ruins the strings and the neck of the guitar. Is that true and should I leave it tuned overnight?", "title": "Is it a good idea to leave my guitar tuned over night?", "forum": "music.stackexchange.com", "question_tags": "<guitar><acoustic-guitar><maintenance>", "link": "music.stackexchange.com/questions/36195", "author": "music.stackexchange.com/users/23179/bob" }

[ [ "In most cases it is not a problem to leave your guitar under the full tension of standard tuning for days or even weeks at a time. However, if you know you will be storing a guitar for an extended period of time (months) without playing it or changing the strings, it is probably a good idea to de-tune or reduce the tension on the strings. ", "It is generally agreed that it is perfectly fine to leave your guitar tuned overnight and for long periods of time. However, if you are going to leave your guitar in storage for many months, there may be merit to reducing the string tension." ] ]

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[ [ "It is generally agreed that it is perfectly fine to leave your guitar tuned overnight and for long periods of time.", "If your guitar is going to be in storage for many months, you may want to consider reducing the string tension." ] ]

[ { "sents": [ { "text": "You are right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitar method books don't teach much traditional music theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is because the guitar is not an ideal instrument upon which to learn music theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Traditional Western music theory, as it is taught in colleges, is based around choral music .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You learn to read and analyze choral music, and later to arrange and write your own chord progressions to be sung by soprano, alto, tenor and bass, in the \"common-practice period\" style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Put simply, this is studying the way that choral music composers from the time of J. S. Bach (roughly circa 1700) and later wrote church hymns.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason for this is that if you learn this period and style of music, it encapsulates all the basics of Western music theory, and lays the foundation for all the music theory used in every style of music that came afterward, instrumental or vocal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you learn the fundamentals of choral music, you can go on to study areas of music theory that relate to all the other kinds of Western music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Traditional music theory is taught by working examples out on sheet music paper and also working out all the intervals and chords by playing them on the piano keyboard .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a given that music theory is much easier to visualize and learn on the piano than on other instruments, including the guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't need to become a piano player to achieve this; you just need to be able to find your way around the keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any four-octave MIDI controller or keyboard synth will do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you don't want to go into traditional choral music theory (which is a two-year college curriculum), you could suppliment your guitar studies by taking piano lessons with a teacher, while using a piano method book which incorporates music theory lessons from the piano perspective.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Find a piano teacher who understands that you already know how to read music on guitar, and that you want to learn music theory more than to learn how to become a pianist.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It may be hard to find a teacher who is flexible enough to teach you what you want to learn, rather than insisting that you follow a beginning piano method book page-by-page.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are method books for jazz guitar music theory, but jazz theory is an advanced form of music theory that is built upon basic traditional music theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you might find that going straight into jazz guitar music theory without knowing the basics might be confusing and not very productive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "Get a teacher.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Nice and simple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One with a college degree where he or she did at least four years of theory studies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ask him or her what kind of melody and harmony work", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he or she did.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If he or she can write fugues and has a good knowledge on counter point then he or she would get you far.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just remember that for every 10 practical teachers there may be one theory teacher worth his salt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The general feeling of theory among teachers is apathy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So getting one that sees the worth and also has proper training is hard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You are not talking about your average teachers here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can find one though I can assure you that your musical endeavors will be greatly enriched with them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "You can go to a music shop that is well stocked with sheet music, method books, etc., and ask them to point you to the music theory workbooks section.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Pick out Volume 1 of each series (all the major publishing houses have such a series), take them over to a comfortable chair, and choose one that appeals to you.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Please don't be put off by the small amount of material that is covered per volume in most of them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just enjoy breezing through Book One and look forward to Book Two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each volume typically costs no more than $10.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19678/aparente001", "score": 1 } }, { "sents": [ { "text": "Traditional music theory is basically diatonic harmony .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I disagree with previous poster saying that the guitar is not an ideal instrument to learn theory on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course it's ideal, because it's a harmonic instrument (you can play chords on it).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It and the piano are both ideal to learn theory on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Plenty of music teachers can instruct you in theory.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And there are plenty of jazz books that start with the basics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So pick one of those and have at it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5919/Michael Martinez", "score": 1 } }, { "sents": [ { "text": "A lot of folks here are talking about theory as it's taught in the college curriculum, in other words, common practice era voice leading and analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're having trouble with Filiberto's book you probably need to work more on what is sometimes called \"music fundamentals\" rather than more advanced \"theory\" (although \"theory\" is often used in a way that covers both terms).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These \"fundamentals\" would include minor and major scale formation, the function of each note in the scales, how the scales relate to key signatures, the triads (chords) that are built from each scale degree, and the usual diatonic function of each of those chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This knowledge is often assumed by a college course in theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Personally, I learned some of this by reading online, some by playing trumpet in high school, some in learning (and especially improvising on) the piano.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Taking college courses definitely led to mastery of the fundamentals, but I would never have survived them if I didn't already have a deep understanding of the concepts I listed above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One book I can recommend that has a decent overview is Ralph Denyer's Guitar Handbook .", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "It's more pop/rock focused and won't help you play classical, but it does go over music fundamentals pretty comprehensively and relates them to the fretboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unfortunately, it has a lot of other stuff that, as a classical player, you may not find interesting, but if you can find a cheap or loaner copy (your local library perhaps?), it's definitely worth checking out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The theory \"method\" books mentioned by other folks are also worth checking out, though, for my learning style, they were not very helpful.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24338/Benjamin Frabecka", "score": 1 } } ]

{ "question": "I am taking 1/2 hour lessons in classical guitar and progressing well. I guess I am at the high end of beginner level, just finishing Aaron Shearer's first book. But I don't know how to gain an understanding of musical theory and don't know how to go about acquiring it. My teacher is starting me on R. Filiberto's Guitar Position Studies, but I look at page 1 and I don't understand the terminology. Any suggestions?", "title": "How to learn musical theory?", "forum": "music.stackexchange.com", "question_tags": "<theory><learning><terminology><classical-guitar>", "link": "music.stackexchange.com/questions/36241", "author": "music.stackexchange.com/users/23206/Jerrythekay" }

[ [ "Guitar players wishing to learn music theory could find a piano teacher who understands that you already know how to read music on guitar, and that you want to learn music theory more than to learn how to become a pianist. Alternatively, they can go to a music shop that is well stocked with sheet music, method books, etc., and ask them to point out the music theory workbooks section. Then pick out Volume 1 of each series (all the major publishing houses have such a series), take them over to a comfortable chair, and choose one that appeals.", "The two most effective ways to learn music theory are probably to either find a professional teacher or to find a good method book. There are also some effective online resources available." ] ]

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[ 0 ]

[ [ "You may want to consider getting a teacher to teach you the basics of music theory.", "There are lots of method books and online resources available that will teach you music theory in an effective way." ] ]

[ { "sents": [ { "text": "Using your thumb isn't \"bad technique\" per se.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's either appropriate or it isn't, given the context in which you do it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example, if this chord is sandwiched between two others which require the first finger barre, maybe it would be better to leave the finger down through those chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bad technique is what I did when I started playing years ago, saw Jimi Hendrix using his thumb, and decided I didn't need to learn how to barre properly!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12961/Bacs", "score": 6 } }, { "sents": [ { "text": "Who has the power to decide?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any technique that works for an individual cannot be a bad one.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Yes, purists may disagree, but it's not them playing, it's you!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As stated already, an extra digit is always an asset, particularly on extended guitar chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm only jealous, having small hands...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "The traditional arguments against wrapping the thumb around to fret the sixth string are that it slows the hand down when you need to change fingerings, and that it brings the other fingers closer to the strings so they are more likely to mute other strings unintentionally.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This matches my experience; but if you can play quickly and cleanly with your thumb wrapped around, those reasons needn't bother you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find that when I try to fret with my thumb, or even just have my palm on the back of the neck, my wrist and fingers are flexed more, and there's more tension in my hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even when playing a barre, my hand feels much more relaxed if I have only my thumb on the back of the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This make it easier to play for a long time without getting sore.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32697/JohnTate", "score": 4 } }, { "sents": [ { "text": "It is unorthodox, but it's not bad per se.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'd definitely recommend learning to barré properly/use your first finger too, and then use whichever is appropriate based on the specific chord and its context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A classical guitarist (or at least, a classically-trained guitarist) wouldn't really use their thumb like that at all, but plenty of top guitarists still do:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Metheny, (Jeff) Beck, Emmanuel, Hendrix, SRV, Bonamassa, etc... Loads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find it does produce a slightly different sound - somewhat warmer and fluffier than using your first finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is because your thumb is going to be quite flat against the neck, whereas your first finger would be more pointed (i.e. you would be using your fingertip more).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are no downsides to this technique if applied appropriately.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, if used as an excuse to not learn other fingerings, you might find it limiting when playing chords that demand a full barré or similar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So yes, it's fine, but learn to play it both ways and then use whichever you feel.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32699/Bernard Woolley", "score": 3 } }, { "sents": [ { "text": "I wouldn't say this is a bad technique.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are many guitarists that use this one, for the very same reason you mentioned.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You have one extra finger, thus you can play one more note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, when I play a chord like this, it is more relaxing for my hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 1 } }, { "sents": [ { "text": "Not at all, it's a great technique!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are chords that you can only play by using your thumb, e.g. the following voicing of A13(b9)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(from low E to high e):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5 X 5 6 7 6 where you play the E string with your thumb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you used your first finger to play a barre chord it would be very difficult to mute the A string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 1 } }, { "sents": [ { "text": "Some of the tricks used in country music where the guitar was for show more than anything else, the would wrap their thumb around the three base strings and the index fingers around the 123 in same fret to form a chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then moving it up and down the neck the singer could play along with the band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some of those country singers playing was worse than their singing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I use my thumb watch some of Johny Cash videos", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he uses the thumb", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23274/user23274", "score": 1 } }, { "sents": [ { "text": "Try playing F#dim with your thumb on the bass string to get the correct inversion, and then it’s obvious that this one’s a no-brainer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, it does slow you down so it should be avoided, but in certain circumstances it really opens up the instrument’s full potential by getting the correct inversion and using all 6 strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61318/Andie W", "score": 1 } }, { "sents": [ { "text": "I play steel string acoustic guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I find that in many instances using the thumb to barre is actually more ergonomic than using the index finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typical use case for using the thumb is when I want to play or mute the low EA strings while simultaneously playing or chording on the GBE strings on a steel string acoustic guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case if I barre with the thumb, then I can keep my wrist straight much easier and with less finger pressure than if I use my index finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "YMMV, of course.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10635/pro", "score": 1 } } ]

{ "question": "When I play barre chords using jazz voicings such as in the following chord chart: I often wrap my thumb around the neck to fret the E string. I prefer this, rather than using my first finger, as it makes it easier to play more complex chords since it frees up an extra finger. I want to know whether this is considered 'bad technique' and whether this has any negative long term effects on playing.", "title": "Is using your thumb for jazz barre chords 'bad technique'?", "forum": "music.stackexchange.com", "question_tags": "<guitar><chords><fingering>", "link": "music.stackexchange.com/questions/36338", "author": "music.stackexchange.com/users/8482/Tim Hargreaves" }

[ [ "Using your thumb on guitar to get the chords is unorthodox, but it's not bad per se. In fact, this technique is used by many guitarists and there are no disadvantages to it. ", "It's generally agreed that using your thumb to fret to bottom string is unorthodox but certainly not 'bad technique'. " ] ]

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[ [ "It's generally agreed that using your thumb to fret to bottom string is unorthodox but certainly not 'bad technique'. " ] ]

[ { "sents": [ { "text": "If you can learn to play without fret markers, you will have a tremendous advantage over those who have learned to rely on the fret markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I first began learning to play guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I relied on the fret markers to help me find my place on the fretboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But when I started playing for audiences on dark stages, I recognized the limitations of not being able to just instinctively know where the frets are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I found it prudent to start practicing playing without looking at the fret markers to learn to play without having to look down at the fretboard and find the fret markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I actually would practice in dark rooms so I couldn't cheat and glance at the fret markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually I got to a point where I rarely if ever look at the fret markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This allows me to sing into the microphone without turning my head down to check my fret markers from time to time and also allows me to make maintain eye contact with (or at least look at) the audience.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing instinctively will also contribute to smoother playing since you will never have to momentarily hesitate to check the fret markers.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And even if you don't plan to sing into a microphone while playing or perform on a dark stage, it would be difficult to read music or tablature while playing, if you had to look away from the music to see where the frets are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the other hand, if it is easier for you to learn with the fret markers, you can always try to learn to play without them as you progress.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But once you learn by relying on the fret markers, you might become psychologically dependant on them and it might be more difficult to learn to play without them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And I have seen some very talented and experienced guitarist, who not only rely on the fret markers, but enlarge them on their guitars to help see them on dark stages.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it's really up to you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I would encourage you to try learning without fret markers and see how far you get.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it proves too difficult in the beginning, perhaps you can use round stick on labels and add one or two fret markers on the edge of the fretboard - maybe at the 7th fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good luck -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "whichever way you choose to go.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16897/Rockin Cowboy", "score": 8 } }, { "sents": [ { "text": "With a classical guitar with no fret markings, the join of the shoulders with the neck will be precisely at the 12th fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you can identify the 5th fret as 1 hand-width past the nut and the 7th fret as 1 hand-with from the 12th-fret join.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice not even looking at the fret-board while you play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead, look at the music, the conductor, the other musicians, the needle on the metronome, whatever.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your fingers will learn where everything is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1344/luser droog", "score": 3 } }, { "sents": [ { "text": "I was just reading one of the 19th century Method books in which the author insisted that you hold the guitar vertically, and learn to place the left hand without looking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you do that fret markers won't do you any good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Admittedly, many (most?)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "modern classical performers do watch their left hand fingerings closely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A compromise is small fret markers at the 5 and 7 on the edge of the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They are visible to the player, but not to the audience.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a beginner I appreciate them on my Yamaha.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23218/hpaulj", "score": 2 } }, { "sents": [ { "text": "I started playing the guitar by reversing the strings of a right-handed guitar to left-handed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There were no fret markings on the guitar and the white dots for 3rd, 5th and 7th frets in the side facing to the player were invisible to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It provides frustration for some time but after that you see the benefits of your muscles memorizing the fret positions instead of your eyes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15408/Seyfülislam Özdemir", "score": 1 } }, { "sents": [ { "text": "For certain long, fast slides I still look down, but my visibility on stage is very limited", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I wear a mask in my current band)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so practicing knowing where you are by feel has been very helpful for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd recommend trying it without fret markers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 1 } } ]

{ "question": "I recently picked up a classical guitar and am considering buy fret markings for it. But I before I do so I would like to know what advantages are there to learning on a guitar with no fret markings. If they are significant I won't bother with the markings. I am in the process of learning all the notes on the fret board.", "title": "What advantages are there to learning on a guitar with no fret markings?", "forum": "music.stackexchange.com", "question_tags": "<guitar><electric-guitar><classical-guitar><fretboard>", "link": "music.stackexchange.com/questions/36392", "author": "music.stackexchange.com/users/6026/Nikos" }

[ [ "Playing the guitar without fret markers teaches you to play instinctively and playing instinctively will also contribute to smoother playing since you will never have to momentarily hesitate to check the fret markers. ", "Learning to play without fretmarkers will likely help you to play smoother because you won't have to check your positioning whilst playing." ] ]

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[ [ "Learning to play without fretmarkers will likely help you to play smoother because you won't have to check your positioning whilst playing." ] ]

[ { "sents": [ { "text": "ask their music teacher.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "that's the music teacher's job - to make sure you practice effectively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you need to find a music teacher you click with, then you should be all set.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2248/Stephen Hazel", "score": 5 } }, { "sents": [ { "text": "Good warm up routine will give great dividends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would go as far as to say the more time you put into the warm up routine the better the quality of the practicing will be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This should include some metronome work and the usual suspects of scales arpeggio and the like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There should also be some sort of finger exercises as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe someone who actually plays the violin can tell you more about those but definitely put time into the warm up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is rather universal among musicians.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "I play the violin and have always practiced for at least 3 hours a week.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The thing is, I don't think I need that much practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It really depends on what you're trying to accomplish.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, if you enjoy playing in a college or community orchestra that rehearses once or twice a week, unless the conductor chooses something really difficult like Richard Strauss or the last movement of Tchaikovsky's Fourth, I can certainly imagine you having a good experience practicing less than three hours a week.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, let's imagine that you are preparing for something more intense, such as a quartet recital, an audition, or a concerto competition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In such a case, three hours a week would probably not be enough for you to feel satisfied with your efforts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What are some ways I can identify if I'm practicing in the Most effective and correct way?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What are common practicing issues that students have while playing the violin that I can start identifying when I do them?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have seen my children (violists) waste inordinate amounts of time doing mindless run-throughs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that's the most common way to send time ineffectively in the practice room.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In terms of warm-up -- an effective warm-up can be done in ten minutes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's one good warm-up routine: do a trill in slow motion, speeding up by steps (feeling the weight of the arm in the lower note)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "do some slow position changes (up and then down), in a variety of intervals, including some octave shifts warm up the bow arm by playing some long notes on open strings, looking for an even tone throughout; expand this to some string crossings (feeling good posture, relaxed shoulder, perhaps checking for straight bow and posture with a mirror) a couple of scales, starting slowly, then increasing the number of notes per bow, for fluency Now that you're warmed up, depending on how much time you have", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", you can work on an étude perhaps play some double stop scales work on a sonata or concerto", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "prepare some spots for some chamber music you'll be playing with some people", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "soon play some Bach put in some fingerings in your orchestra music", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "memorize a section of something review one or two pieces from your repertoire", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19678/aparente001", "score": 1 } }, { "sents": [ { "text": "I want to suggest that you read from the bulletproof musician online.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://www.bulletproofmusician.com/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I subscribe to emails from them and they often have helpful things to say about practicing effectively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if you want to be a big soloist one day you need to practice more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Three hours a week really doesn't do it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some people practice up to 8 hours a day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I read once that after 2 hours you're not very effective but it really depends on the person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I personally practice 1-2 hours a day and I am at college as a violin performance major", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I have a CD on iTunes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I am not good enough to become a soloist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So at this point I'm thinking about trying to go to grad school and become a violin teacher and a writer on the side.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This article should be very helpful to you on how to practice: http://www.bulletproofmusician.com/how-many-hours-a-day-should-you-practice/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26238/Alex", "score": 1 } }, { "sents": [ { "text": "The \"most effective and correct way\" is the way that brings out the music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a bit different for everyone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't ever get the idea that you will first learn the notes and then breathe the music into it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The worst thing that you can do is to get so involved in the technical details of a passage that you lose sight of the music it's intended to convey.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will practice that colorlessness into the passage, and it will be very hard to put the color back in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's very important to keep in the front of your mind, while practicing, that any technique is a means to express a musical idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, you need to practice scales and arpeggios, but only because they occur frequently in music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can't practice a scale as if it were a piece of music (which of course it is), then you need to go meditate, or take a walk, or whatever, until you can.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, always improve your ability to express your understanding of the music you're learning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Always.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If that is always the focus of your practice (even when doing exercises), then you will be practicing in the most effective and correct way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For to express your understanding of the music is your ultimate goal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you find that you are losing sight of the music, go do something else until you are ready to bring your mind back to the task.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anyway, that's my two cents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know Liszt was said to practice finger exercises while reading a book, and he was a much greater pianist than I will ever be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I suspect that he never lost sight of the music in the exercises, no matter what else he was doing at the time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A guy who could take an orchestral score that he had never seen, and arrange it flawlessly on the piano on the fly, probably had a sense of the music in whatever he was playing that was so innate that the music would come out of him even if he were paying attention to something else.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9399/BobRodes", "score": 1 } } ]

{ "question": "I play the violin and have always practiced for at least 3 hours a week. The thing is, I don't think I need that much practice. What are some ways I can identify if I'm practicing in the Most effective and correct way? What are common practicing issues that students have while playing the violin that I can start identifying when I do them?", "title": "Practicing Correctly for a Musician", "forum": "music.stackexchange.com", "question_tags": "<practice><violin>", "link": "music.stackexchange.com/questions/38883", "author": "music.stackexchange.com/users/23923/anonymous" }

[ [ "To practice the violin correctly, a music teacher is recommended.", "The best way to know whether you are practising effectively will be to find a music teacher to help you." ] ]

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[ 0 ]

[ [ "The best way to know whether you are practising effectively will be to find a music teacher to help you." ] ]

[ { "sents": [ { "text": "Practice it by playing it as slowly as needed to attain as close to 100% accuracy as possible (no perceivable mistakes).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Use a metronome.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Once you master it at a given slower tempo, speed it up until it becomes a challenge again and practice at the faster tempo until you master it at that tempo.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Repeat this process until you can actually achieve 100% accuracy at a slightly faster than normal tempo", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": ", then you will have it down.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you practice at a tempo where you are consistently making mistakes, you will not be developing the correct muscle memory.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Instead you will be ingraining your tendency to make mistakes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Be patient.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some passages or pieces are more difficult and take time to master.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Good luck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16897/Rockin Cowboy", "score": 15 } }, { "sents": [ { "text": "Think more about what can happen over the course of days rather than one day.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Work on something else musical or (perhaps better) go do something completely different like go for a jog or a walk.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Something happens when you work hard on something, then go away from it (or sleep) and come back to it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Maybe work on it a bit before you go to bed, then again in the morning.)", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Whatever you do don't force it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can only learn at your own pace.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you're otherwise having difficulty with the figure, try breaking it into smaller pieces and getting the portions right before putting them together.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You may be trying to get to performance level before you're ready.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You don't want that \"forcing it and my hand hurts\" quality to be in the playing, whatever the style is.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/944/vjones", "score": 5 } }, { "sents": [ { "text": "IMO the best way to learn a repetitive part is to play it every day, starting from low bpm.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When you feel comfortable then increment the bpm.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But, after all, it's only a matter of time, and patience.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24544/adellinho", "score": 2 } }, { "sents": [ { "text": "You're going to need mnemonics.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You need to have a mental picture of some sort that you can hang the notes on.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It could be a story, it could be some symbols representing formal structure -- etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I read somewhere that one needs to put something into short-term memory repeatedly so that the item can be recalled comfortably, at the person's speed.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The point of the slow practice is to eliminate tension while you build fluency.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19678/aparente001", "score": 1 } }, { "sents": [ { "text": "I'll address the issue of pain from a repetitive piece since the other answers didn't, although I agree with them about slowing down to gain accuracy.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "You have muscles in your fingers and arms that need strengthening just like for any physical activity.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Pain is your body's way of telling you to back off a bit.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It helps to go back to basics.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Make sure you have a bench at the proper height, that you aren't bending your wrists, and you're holding your fingers loosely cupped, not tightly flexed or cramped.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Pay extra close attention to getting the fingering right.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If it's not written for you, write it down yourself with a pencil in key places.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "When you feel pain, stop.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Stretch your fingers gently.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Wait until the pain subsides, plus a little longer, then try again.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "As you build up your muscles, and build up your speed, and focus on proper positioning and fingering, you'll see your endurance increase.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "People in good shape can play all day, with short breaks, but it took them a while to get to that point.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9981/Karl Bielefeldt", "score": 1 } } ]

{ "question": "I tried to just bang it out and keep playing over and over to get the muscle memory but it feels like its not coming along and its just hurting my hand to spam it out. I've only been playing for 5 min but still. Is it just a matter of time? Should I perhaps play it multiple times per day instead of one 20-30 min session spent on learning?", "title": "What is the best way to learn a repetitive part in a piece?", "forum": "music.stackexchange.com", "question_tags": "<piano><practice>", "link": "music.stackexchange.com/questions/39247", "author": "music.stackexchange.com/users/24519/dmscs" }

[ [ "Practice it by playing it as slowly as needed to attain as close to 100% accuracy as possible (no perceivable mistakes). Use a metronome. Once you master it at a given slower tempo, speed it up until it becomes a challenge again and practice at the faster tempo until you master it at that tempo. Repeat this process until you can actually achieve 100% accuracy at a slightly faster than normal tempo , then you will have it down. If you practice at a tempo where you are consistently making mistakes, you will not be developing the correct muscle memory. If you practice at a tempo where you are consistently making mistakes, you will not be developing the correct muscle memory. IMO the best way to learn a repetitive part is to play it every day, starting from low bpm. When you feel comfortable then increment the bpm. The point of the slow practice is to eliminate tension while you build fluency. Be patient. Some passages or pieces are more difficult and take time to master. Think more about what can happen over the course of days rather than one day. Work on something else musical or (perhaps better) go do something completely different like go for a jog or a walk. Something happens when you work hard on something, then go away from it (or sleep) and come back to it. (Maybe work on it a bit before you go to bed, then again in the morning.) Whatever you do don't force it. You can only learn at your own pace. But, after all, it's only a matter of time, and patience. ", "Gradually increase the pace until you feel more comfortable. It's more effective to practice regularly at a pace where you still make mistakes. It is up to you to learn things at your own pace and in your own way." ] ]

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[ 7 ]

[ [ "Practice at a slow tempo until you feel relaxed, then raise the beat per minute. With slow practice, you are able to gain better control while you are also reducing the burden of stress. It's much easier to develop accurate muscle memory if you practice regularly at a pace where you're still making mistakes. Every time you practice,You develop the muscle memory to be able to play the notes faster. It is necessary to work steadily at this pace because you can eventually achieve your goal of full expansion.", "Patience is a virtue. In terms of a difficulty level of learning, passages or pieces, there are some that are harder and more demanding. You have to discover things on your own time and in your own way. Once that is overcome, it is just a matter of time and patience.", "If you are having trouble with the figure, break it down the proportions. Performance is usually for a goal, not readiness. If I don't like it, I don't have to do it.", "You need to have a mental picture of some sort that you can hang the notes on. It could be a story, it could be some symbols representing formal structure -- etc.", "Pain is your body's way of telling you to back off a bit. It helps to go back to basics. Make sure you have a bench at the proper height, that you aren't bending your wrists, and you're holding your fingers loosely cupped, not tightly flexed or cramped. As you build up your muscles, and build up. your speed, and focus on proper positioning and fingering, you'll see your endurance increase." ] ]

[ { "sents": [ { "text": "Pretty much every string instrument can be strummed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Blink 182 example you provided shows an electric bass guitar being strummed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here is an example where Charlie Haden strums on double bass: (the strumming part starts at 3:26)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 9 } }, { "sents": [ { "text": "1) Lemmy of the band", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Motorhead strums power chords all the time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Here is Lemmy demonstrating his technique 2)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There is a more elaborate technique for strumming on bass guitar which involves several fingers of the right hand, rather than a pick.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The technique is called rasgueado , which is a technique taken from flamenco guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The technique has been utilized by master jazz bass guitarists including Victor Wooten and Anthony Jackson.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Chris Wolstenholme of Muse uses a similar technique in “Panic Station,” visible here:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 7 } }, { "sents": [ { "text": "If it has more than one string it can be strummed.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Keith Emerson has even strummed the harp inside his piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have to say that full strumming a five string may sound a bit funky with that low B, but rock bassists have been strumming for over 40 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And as far as \"Playing lead lines is not usually in a bassist's remit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Neither is usually playing runs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\", all I can say is Tim has obviously never listened to Jack Bruce, Tim Bogert, Busta Cherry Jones, or the host of other rock and jazz bassists that made the bass more than just an accompanist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24977/s31064", "score": 5 } }, { "sents": [ { "text": "This is not a standalone answer, Todd & Shev have covered strumming - but as for lead lines, they too are possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The idea that a bassist must simply play along to what the rest of the band are doing I think is neatly put aside by this band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Before Royal Blood came along, if anyone had told me that you could make a 'proper' rock band with just a drummer & bassist, I'd have been mildly amused but unlikely to take them seriously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you go to the YouTube page, there's a track list with clickable links to listen to bits of each track, for a quick precis of what they do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12556/Tetsujin", "score": 4 } }, { "sents": [ { "text": "Yes you can.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I mentioned in my comment, one member of Ned's Atomic Dustbin pretty much strums the bass through all of every song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He is in the foreground playing in this video:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 3 } }, { "sents": [ { "text": "For another example If you don't mind Nu-Metal and growling vocals then check out Mudvaynes LD 50 album.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ryan Martinie uses slap, strumming, picking almost any bass playing technique you can think of.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/25001/Matt Barboza", "score": 3 } }, { "sents": [ { "text": "Les Claypool is another great bassist with a nice strum technique that he uses often...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Checkout Groundhog Day by Primus:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32548/Tim Burnett - Bassist", "score": 2 } } ]

{ "question": "I always had the idea that you can strum a bass guitar. An idea I got from watching Mark Hoppus play. Recently the bass teacher I know told me that you mostly play lead lines with a bass. I'm not sure what to believe. The bass intro from the song 'carousel' always gave me the idea you could strum a bass.", "title": "Can you strum a bass guitar?", "forum": "music.stackexchange.com", "question_tags": "<technique><bass-guitar>", "link": "music.stackexchange.com/questions/39855", "author": "music.stackexchange.com/users/7306/Neil Meyer" }

[ [ "There is a more elaborate technique for strumming on bass guitar which involves several fingers of the right hand, rather than a pick. The technique is called rasgueado , which is a technique taken from flamenco guitar. The technique has been utilized by master jazz bass guitarists including Victor Wooten and Anthony Jackson. Motorhead and Lemmy of the band also strum the bass.", "Rasgueado is a technique taken from flamenco guitar" ] ]

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[ 7 ]

[ [ "Rasgueado is a technique taken from flamenco guitar. It involves several fingers of the right hand, rather than a pick. It has been utilized by master jazz bass guitarists including Victor Wooten and Anthony Jackson." ] ]

[ { "sents": [ { "text": "There is LilyPond which does what you are looking for.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It was first released on 1996, but it still gets updates.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "LilyPond is a computer program and file format for music engraving.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "One of LilyPond's major goals is to produce scores that are engravedwith traditional layout rules, reflecting the era when scores wereengraved by hand.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "LilyPond is cross-platform, and is available for several commonoperating systems; released under the terms of the GNU General PublicLicense, LilyPond is free software.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Wikipedia On the Wiki page", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", there is a nice example with some code and the outcome, but it's too big to post here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We have had many questions tagged lilypond in this site, so you can look through these to get a general idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is also ABC Notation , which is text-based notation (not exactly coding), like: X:1T:Speed the PloughM:4/4C:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Trad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "K:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G|:GABc dedB|dedB dedB|c2ec B2dB|c2A2 A2BA| GABc dedB|dedB dedB|c2ec B2dB|A2F2 G4:||:g2gf gdBd|g2f2 e2d2|c2ec", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B2dB|c2A2 A2df| g2gf g2Bd|g2f2 e2d2|c2ec B2dB|A2F2 G4:| and gets you the result:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 22 } }, { "sents": [ { "text": "I have not personally used any of them yet, but there are multiple packages for typesetting music with LaTeX .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10660/ojdo", "score": 4 } }, { "sents": [ { "text": "As mentioned previously, LilyPond might meet your specifications.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For one thing, its input is text form, something which some people equate with \"programming\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(for example, the answer proposing MusicXML does not make any sense without that assumption).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For another, one of its implementation languages is Scheme (more exactly, Guile), and Scheme is immediately accessible in its source files as an extension language useful for algorithmic programming.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One example of mixing music and programming is in this unrelated answer to a StackExchange question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sorry for not linking to LilyPond and Guile, but my reputation allows only for 2 links, so I had to be selective.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/25380/user25380", "score": 2 } }, { "sents": [ { "text": "An older option is MUP , which has been kicking around since 1995 and is now open-source freeware.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It takes in an input file that looks like this and outputs a PostScript file that looks like this .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note, however, that PostScript is something of an older file format, and you may need to download an extra piece of software to view the files and/or convert them to a different format.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On Mac OS, the built-in \"Preview\" application will do it, but I'm not sure what the equivalent software would be on a Windows or Linux system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21557/Michael Seifert", "score": 1 } }, { "sents": [ { "text": "MusicXML, in any text editor, is my favorite way to \"code\" music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A tutorial can be found here .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When your code is complete, you can import it into almost any music editing software such as MuseScore, Sibelius, or Noteflight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/25260/OldBunny2800", "score": 1 } }, { "sents": [ { "text": "Trinket allows you to write music with code.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's rather small at the moment", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it works well for smaller projects.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I haven't noticed any development though in the last few months", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I'm not sure if they mean to continue it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10339/codedude", "score": 0 } } ]

{ "question": "I saw a recent notation software product that seemed to offer a novel and concise way to code your music notation. I can't find it so I'm reaching out for your help.", "title": "What music notation software allows you to code the notation?", "forum": "music.stackexchange.com", "question_tags": "<notation><software>", "link": "music.stackexchange.com/questions/40415", "author": "music.stackexchange.com/users/5806/rpeg" }

[ [ "Notation software that allows you to code the notation includes LilyPond. LilyPond is cross-platform, and is available for several commonoperating systems; released under the terms of the GNU General PublicLicense, LilyPond is free software. Others are MUP, MusicXML and Trinket.", "There are maycomputer program and file format for music engraving. " ] ]

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[ 7 ]

[ [ "LilyPond is a computer program and file format for music engraving. One of LilyPond's major goals is to produce scores that are engraved with traditional layout rules. Trinket allows you to write music with code. MusicXML, in any text editor, is my favorite way to \"code\" music and an older option is MUP" ] ]

[ { "sents": [ { "text": "If you know what sound you require, and it is from one pickup (ie if you always keep your pickup selector in the same place) then there is really no need to have other pickups.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Every pickup can be a source of interference and noise, so removing them reduces the potential for noise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some also do it for the look, and in the past some have definitely done it because a pickup broke", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and they didn't get around to fixing it :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want the flexibility a multi-pickup configuration gives you, don't do this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 7 } }, { "sents": [ { "text": "Electric guitars have a long sustain (and can be used for acoustic feedback for that reason) because the string does not lose significant amounts of acoustic energy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have good bridge and nut, the main loss of energy might be through the magnetic fields of the pickups, through magnetization losses of the string even if the pickup is switched off (if it's on, losses might be more complex).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it's conceivable that reducing the number of pickups will lead to longer sustain and easier acoustic feedback if that's part of your playing style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"conceivable\" means that if people do quantifiable experiments which show a noticeable difference, I won't cross this off as fantasy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But without such experiments, I remain rather skeptical.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course what may very well be the case that with heavy play some of the pickups might be a problem mechanically, being hit by the string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/25375/user25375", "score": 7 } }, { "sents": [ { "text": "Even pickups that are not wired in to the circuit at all can have an influence on the vibration of metal strings due to the magnets used in the pickups.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, this is only likely to be noticeable when the pickup's height is such that it is very close to the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This video (start at about 1 minute) suggests that the 'warble' that this creates is much more noticeable when it's the pickup being listened to that is too close to the strings, but if you had two pickups in close proximity (with one of them being disconnected but too high) it's also likely that the effect could be heard easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(It should be noted that just because the effect is easily audible, it doesn't necessarily mean that it's all due to the effect on the string's vibration - it is also likely also because the added proximity alters the relative balance between the modes of vibration picked up by the pickup.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 6 } }, { "sents": [ { "text": "Since electric guitar strings are made of metal and magnets inside the pickups are attracted to metal strings, they will have an effect on each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The more pickups you have in a guitar, the more the magnets in the pickups are affecting the free vibration of the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When pickups are properly height-adjusted this \"pull\" is minuscule, though I'm sure measurable in some way", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(it is hard to find tests out there in the real-world of this, though, like Tubes, it just \"sounds\" difference to \"trained ears\" -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "there's a perceived sustain increase).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only real evidence (something you can test yourself) is when pickups get too close to the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Amplified", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you'll notice the sustain is cut off a bit, and there's a \"warble\" (as mentioned in other answers) to the sound where the magnetic pull is greatest on the string and weird science takes over.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So generally, the fewer pickups in the guitar, the less magnetic pull and more free-string vibration you have .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, the closer the pickups are to the strings, the more magnetic pull they have (since they're stronger and closer ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The more magnetic pull, the harder it is for the string to vibrate freely without restriction.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are other small factors with more or less pickups; the most relative probably being that the less-routed guitar body has more mass to affect the sustain of said strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is really only apparent though in top-mounted guitars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally, modern Strat-style guitars come with H-S-H routes (or even boat routes!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "under the pickups for universal fits regardless of whether the guitar only has a single humbucker or is truely H-S-H.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another relative factor has more to do with the tone-circuit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most people who use just one humbucker generally have no tone pot in the circuit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They often just have a volume pot going straight to the output jack.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This simplification of the circuit leads to a no-load configuration that will increase the output a bit, as well as preserve some high-end otherwise not perceivable in a traditional volume-tone circuit. ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Judging by how common this particular configuration is to single-humbucker guitars (and you asking specifically about people who remove all but one humbucker)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I thought I'd include this as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "EDIT", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": Check out this link on Music: Stack Exchange.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It goes more into the physics of this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "Since pickups have permanent magnets, it doesn't matter if there switched out of the circuit, they still have the same influence on the vibrating properties of the string unless you physically remove then from the guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The input load into the guitar amp is very high, so it probably won't make much difference if it's in or out of the circuit.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you want to know if the magnetic field from a disconnected pickup alters or dampens the string vibration - try this test, take a pickup unit that has been removed from a guitar, and move it close to the strings just like a normal PU except from the top.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Play an open string slowly with the pickup close to the strings, and then move it away, and see if there is a difference in the sound.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/25475/philbrooksjazz", "score": 1 } } ]

{ "question": "There are many artists performing with single pickup guitars, playing various genres. Some even remove two pickups from HSS guitar and leave only bridge one. When it beneficial to do this? Update:This might be worth checking", "title": "Do disconnected pickups alter sound in noticeable way?", "forum": "music.stackexchange.com", "question_tags": "<electric-guitar><pick-ups>", "link": "music.stackexchange.com/questions/40430", "author": "music.stackexchange.com/users/452/teodozjan" }

[ [ " Since pickups have permanent magnets, it doesn't matter if there switched out of the circuit, they still have the same influence on the vibrating properties of the string unless you physically remove then from the guitar. If you want to know if the magnetic field from a disconnected pickup alters or dampens the string vibration - try this test, take a pickup unit that has been removed from a guitar, and move it close to the strings just like a normal PU except from the top. Play an open string slowly with the pickup close to the strings, and then move it away, and see if there is a difference in the sound.", "They still have the same influence on the vibrating properties of the string. " ] ]

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[ 7 ]

[ [ "Pickups have permanent magnets so don't matter if they're in or out of the circuit. They still have the same influence on the vibrating properties of the string. Play an open string slowly with the pickup close to the strings, and then move it away. See if there is a difference in the sound to see if the magnetic field from a disconnected pickup alters the string vibration." ] ]

[ { "sents": [ { "text": "Use a freeze pedal or freeze function in any slow-downer application or digital recording application to stretch out any note into a continuous tone, the higher the better.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then take your tuner and look at the pitch of the frozen note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The frozen note will be 50 cents or less away from concert pitch.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then recalibrate your tuner to the pitch of the frozen note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If your tuner doesn't have a recalibration function then note how many cents sharp or flat your frozen tone is from concert pitch.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then tune with your tuner.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10635/pro", "score": 4 } }, { "sents": [ { "text": "Just to offer an alternative that has yet to be mentioned, You caught this recording/echo with some friends, right?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe one of your buddies has their instrument still in tune with the recording, and you could \"keep the candle lit\" so-to-speak by tuning to another instrument that was used in the \"making of.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8537/sova", "score": 2 } }, { "sents": [ { "text": "Try to find on each string a sequence of notes that changes with the chords in such a way that on every chord you're playing either the root or the fifth .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep on the recording on, play that harmony voice to it and correct the intonation as necessary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It tends to be easiest if you deliberately start out with all strings a bit too low, and then tune upwards until you don't need to significantly bend up any string to make it sound in tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would not recommend focusing on a single spot in the recording, because guitars tend to be overall a bit higher or lower in tune for different chords depending on position and voicing, especially if they were tuned by ear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's probably not a big deal for single chort in context, but if you tune to such a chord in the recording, you may end up with systematically off strings and it will everywhere sound uneasy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 2 } }, { "sents": [ { "text": "Ear solution: Assumption:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You know what was played on the recording, the notes, the key, the chords, the scale etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "preparation:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To help, start with your guitar tuned to standard pitch (a tuner).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Procedure:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pick form that set of notes and chords, one that best defines thekey", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "*", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Select the root in the best case.) With guitar in hand, play the recording until that note/chord comes up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Immediately stop the recording when the note chord is finished, so that the continued playback does not distract you from the memory of that note orchord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tune to your memory of the note or that chord's root note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "last heard from the recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Repeat this process a few times to hone your precision,confidence, and or accuracy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are unsuccessful after a few tries, repeat steps with a different note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you feel you have been successful with that one note, you could calibrate your tuner to match it, or simply tune the rest of the guitar to that note or string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A persons ability to tune by ear usually will diminish over time within a single attempt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you do not get it within say a half hour take a rest and perhaps try again another day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Technological solution: Enter the music into a digital recording program, of which there are many products to select from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Loop over the longest of the choppy notes and tune to that loop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Disparate Snarky solution:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hire a guitar teacher to figure it out for you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Second Ear Solution: (with thanks to Brian Tung)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "preparation:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To help, start with your guitar tuned to standard pitch (a tuner).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Select a note that is central to the key (such as the root).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is unlikely to work with a note that does not match with the key (root or the fifth would match well).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While the recording is playing, slowly adjust that note against all others to get it to sound good for the duration of the key or the recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Notes: *", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Using a note/chord that is root is not required but it will improve your success rate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "General note:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider that the tuning is likely to be slightly lower than standard, as you attempt these ideas.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15535/amalgamate", "score": 1 } }, { "sents": [ { "text": "Sounds like you captured some magic that would be easier to expand upon than replicate or re-create.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You made a recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Transfer that recording to another device (your computer maybe)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you can use the same recorder to make a new recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play back the recording you made while listening with headphones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Find a spot on the recording where you can play along for a few notes on the same string (even if you played it on different strings during your out of tune session).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't have to match the timing to the millisecond, just be as close to unison as you can but most importantly try to play the same notes (even though they may be slightly off).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can hear as you play that you are flat or sharp, adjust your tuning accordingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you get so close", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's hard to tell while playing along, record your attempt to play along with the original recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now you have two recordings that you can convert to a digital file that you can loop and compare side by side to see if you are still flat or sharp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make the fine tuning adjustments as indicated and repeat the process until you have one string playing the notes at the same pitch as on the original recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might be able to do this by ear without needing to make a new recording if you just make a loop of the part that can be played on a single string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you have one string in tune with the original recording , tune the other strings on your guitar to that string using the 5th/4th fret tuning method (out of order maybe but you can start on any string and make it work).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are not familiar with this tuning method click the link below where it is explained several different ways.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fifth Fret Guitar Tuning Method Explained Good luck!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16897/Rockin Cowboy", "score": 1 } } ]

{ "question": "I made a recording of some playing with friends. I now want to overdub some guitar. At the time we tuned to each other, but not concert pitch. The music is quite choppy and staccato, and I really cant find a long enough reference note to tune to. I can tell I'm out of tune but isn't obvious whether I'm flat or sharp as I would be able to against a single note. Any tips on how to resolve this?", "title": "Tune to a recording", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><pitch>", "link": "music.stackexchange.com/questions/41039", "author": "music.stackexchange.com/users/23452/Dave Halsall" }

[ [ "To tune to a recording, use a freeze pedal or freeze function in any slow-downer application or digital recording application to stretch out any note into a continuous tone, the higher the better. Then take your tuner and look at the pitch of the frozen note. The frozen note will be 50 cents or less away from concert pitch. Then recalibrate your tuner to the pitch of the frozen note. If your tuner doesn't have a recalibration function then note how many cents sharp or flat your frozen tone is from concert pitch. Then tune with your tuner.", "Use a freeze pedal or freeze function to stretch out any note into a continuous tone" ] ]

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[ 7 ]

[ [ "Use a freeze pedal or freeze function to stretch out any note into a continuous tone. The higher the higher the better, the better. Then take your tuner and look at the pitch of the frozen note. The frozen note will be 50 cents or less away from concert pitch." ] ]

[ { "sents": [ { "text": "Ordinarily, I'd say this is simply a \"laissez vibrer\" instruction (playing a chord, releasing your fingers but sustaining it with the pedal).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the unconnected quaver head in the 10th bar is definitely a misprint, so that lowers my confidence in the entire score - the slurs might also be misprints (maybe an entire chord is missing?).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3083/Kilian Foth", "score": 5 } }, { "sents": [ { "text": "I'd interpret it as a printing error!.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Five (poss.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "bars later, there's a note head with no tail.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also it looks like it's in 6/8, but with unusual joining of the 'triplets'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The three 'slurs' are actually referring to only one note there, whereas bar 9 at least has 3 'slurs' for 3 notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Who's it by and what is it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "EDIT : the quaver rest doesn't help much, either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which line is it supposed to belong to?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's there, it would effectively cancel 'laissez vibrer', as once the note/s been cut off to play a rest, it cannot be left to ring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "AND - in the bass clef, it looks like 5/8!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "Those are \"laissez-vibrer\" ties: you just let the notes ring on.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Comparing the top occurence of this construct with the following one makes it likely that the excess ties without proper reference may be a printing error and should instead be attached to the last three notes of the top voice.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The next occurences show a second voice with explicitly prolonged on-beat notes which the top system does not exhibit, but it would appear like the ties all belong to the first voice.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Of course, the execution of this second voice will not differ in the last, laissez-vibrer notes of the phrases.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "You've tagged this \"piano\", so as opposed to a cembalo, organ or free bass accordion, there is no other key to bring this across, so you have to rely on phrasing and the listeners' imagination.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "At any rate, you were asking about the first line: here I consider the most likely interpretation a printing error with the intent of letting all three top voice notes ring into the next measure.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26302/user26302", "score": 2 } }, { "sents": [ { "text": "This looks to me like the score was rendered in some piece of software that, due to some layout conflict, has failed to render some of the notes of the piece at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also looks like the score is off by an eighth note from proper alignment...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "this happens sometimes when writing a score in music layout software that treats music as a list of notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's something that often occurs when I'm writing a score in the program I use, as it's easy to get a dotted rhythm wrong, accidentally leave out a note, or incorrectly fill the remaining time in a measure with rests when typing up a score, and it causes numerous layout issues...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I'm not shocked that there are missing stems and noteheads, given that the start of each measure is off by an eighth note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't quite look like the usual errors I see in the software I use, but I'm not surprised that other programs have similar issues.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd contact whoever provided this piece and notify them of the issue", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ASAP; if it is this sort of off-by-one error that has caused the piece to render incorrectly, whoever did the layout for the piece may be able to correct the incorrect rhythm or add the missing note, and render a corrected version of the music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3453/Theodore Murdock", "score": 1 } }, { "sents": [ { "text": "I'm quite certain", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's a type of laissez vibrer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would interpret it to mean that I should leave the whole current chord in the pedal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The placement of the ties is a little odd but comparing to the following lines you see that the same idea repeats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also explains the missing rests: there should be no silence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first rest is probably there to make it clear that the measure is 6/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for the other suggested misprints, I don't think they are such.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The note with a missing tail is something I haven't seen often", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I would just play it as some kind of bell; the exact length of the note is unimportant and writing it this way makes it look like it should be in another layer of sound (i.e. not accompaniment nor melody nor bass).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The displacement of the 8th notes is also probably intentional: the accompaniment is just one 8th note ahead of melody (note that the melody notes actually fall on the strong beats).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example Scriabin uses this kind of writing a lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All in all, I would say this is actually good piano writing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The score contains enough information about what the piece should sound like while still being easy to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3300/nonpop", "score": 1 } } ]

{ "question": "The top right bar has 3 slurs/ties but they are not connected to anything. How is this interpreted?", "title": "Is this a tie or a slur or something else?", "forum": "music.stackexchange.com", "question_tags": "<piano><notation>", "link": "music.stackexchange.com/questions/41574", "author": "music.stackexchange.com/users/12535/02fentym" }

[ [ "The items indicated on the piano notation are \"laissez-vibrer\" ties: you just let the notes ring on. ", "Those are \"laissez-vibrer\" ties: you just let the notes ring on." ] ]

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[ 7 ]

[ [ "Those are \"laissez-vibrer\" ties: you just let the notes ring on. \"You've tagged this \"piano\", so as opposed to a cembalo, organ or free bass accordion, there is no other key to bring this across, so you have to rely on phrasing and the listeners' imagination. Here I consider the most likely interpretation a printing error with the intent of letting all three top voice notes ring into the next measure. The top system does not exhibit prolonged on-beat notes which the second voice does not, but it would appear like the ties all belong to the first voice." ] ]

[ { "sents": [ { "text": "Firstly, does your USB keyboard have MIDI out (DIN) sockets as well... ...or is it USB only?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it is USB only, then it is possible to get a hardware converter (from USB to traditional 'DIN' MIDI) that should work as long as the USB Midi keyboard is 'class compliant'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "an example is http://www.kentonuk.com/products/items/utilities/usb-host.shtml .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you have a traditional (DIN) MIDI connection, you'll be able to use any midi sound module.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many years ago, these boxes were the most usual thing to use with a midi keyboard - often with a computer-based midi sequencer in between.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These modules are also sometimes called 'expanders'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll want to pay attention to the type you get.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many modern hardware midi modules are analogue-style synthesizers that are marketed as benefitting from having physical controls, the assumption being that people will get their 'bread and butter' sounds (pianos, strings, etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "from their computers these days.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These analogue style sounds may be exactly what you want, but even so you may want to be careful that you don't choose something with polyphony that is too limited for what you want to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may be that looking at the second hand market will give you something closer to what you need.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some examples (purely examples, not recommendations) of older 'Sample + Synthesis' modules that should have a selection of sounds for jamming are...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Roland JV-1080: The Korg X5DR: Of course when buying something that may be 20 or more years old, you'll want to consider that reliability may be an issue before laying your money down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 8 } }, { "sents": [ { "text": "If you want to go really cheap, I found this little sound module on Amazon that costs only £50.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Haven't tried it, but it should get the job done.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Accepts both USB and MIDI as an input and in the product description states that it can power up a MIDI keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ammoon Midiplus MiniEngine , and Ammoon MIDIPLUS MiniEngine Pro", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40011/m.spyratos", "score": 7 } }, { "sents": [ { "text": "If you're willing to do it DIY, single board computers like a Raspberry Pi have enough processing oomph to act as (simple) synthesizers.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "They come with a USB and sound ports, it's just a matter of piecing together the midi driver and a synthesis engine software.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some examples of Pi based synthesizers can be found here .", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 6 } }, { "sents": [ { "text": "I did something just like this recently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have an AKAI MPK Mini and an iPhone 6s and wanted to connect them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I bought this lightning to USB adapter and it works just fine with a variety of keyboard apps on my phone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the headphone jack you can output the sound however you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only caveat is you can't charge the phone while the MIDI controller is plugged in, so the phone's battery might get drained pretty quick.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your MIDI controller is USB and you have a smartphone, you can likely get something similar to connect them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40025/jeffersonlam", "score": 2 } }, { "sents": [ { "text": "what a false legend.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "since early 2016 you can get the \"Lightning USB 3 Camera-Adapter\" for less than 50$. With that you can charge while having connected your iPAD to any USB keyboard , USB hub or whatever USB/MIDI device you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the device needs more power than a few tolerated milli amperes, put an additional, powered USB hub (~ 20$) in between.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But with or without such a hub, you can power/charge your iPad through the \"Lightning USB 3 Camera-Adapter\" while communicating with USB device(s).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only real complaint I have with IOS is, they don't offer a firewall, so every freaking APP involved in your MIDI/AUDIO chain can telephone your musical ideas (just a few kB) home and offer them as \"chord/melody assistents\" to the world, before you have copyrighted your own ideas.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So use Apple/IOS/itunes products with a grain of salt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(MacOS has firewall though, just the IOS hasn't).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have fun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/42766/LightningUSB3 CameraAdapter", "score": 1 } }, { "sents": [ { "text": "If you have an iPhone, you can run it through GarageBand using a USB-Lightning adapter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it will de-charge a phone pretty quickly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24821/Greg", "score": 0 } }, { "sents": [ { "text": "If you have an iOS device (iPhone, iPad, iPod), you can connect your keyboard to it via Lightning to USB Camera Adapter (the new MK0W2AM/", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "A model can charge device at the same time) and download some apps listed on this website: iOS Keyboards Apps", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "You can use these apps with DAW (Digital Audio Workstation) or standalone (check app description).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Some of these apps is free: iOS Free Keyboards Apps", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47903/baduga", "score": 0 } } ]

{ "question": "I have a USB MIDI keyboard which is totally useless when not plugged in into a PC and playing a digital instrument. Is there a cheap way, for example some type of box which has predefined sounds, synthesizers, pianos etc on it and a box integrated or 3.5mm out? Sometimes I would just like to jam a bit like I used to with my old Yamaha keyboard without powering up the PC.", "title": "Cheap way to make sound from a MIDI keyboard, without PC", "forum": "music.stackexchange.com", "question_tags": "<keyboard><midi><midi-controller-keyboard><live-sound>", "link": "music.stackexchange.com/questions/42394", "author": "music.stackexchange.com/users/3277/JustGoscha" }

[ [ "A MIDI keyboard can be plugged into a single board computer like a Raspberry Pi, an iOS device and it can be used with iOS Apps.", "Single board computers like a Raspberry Pi have enough processing to act as (simple) synthesizers and iOS devices could help too" ] ]

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[ 7 ]

[ [ "Single board computers like a Raspberry Pi have enough processing oomph to act as (simple) synthesizers. Some examples of Pi based synthesizers can be found here", "If you have an iOS device (iPhone, iPad, iPod), you can connect your keyboard to it via Lightning to USB Camera Adapter. You can use these apps with DAW (Digital Audio Workstation) or standalone. Some of these apps is free." ] ]

[ { "sents": [ { "text": "These chords are essentially 9sus4 chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E.g., an F/G has the notes G F A C which are with respect to the root G 1 b7 9 4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only note missing from a complete G9sus4 chord is the fifth (D).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Leaving out the fifth does not change the quality or basic sound of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can get the fifth of the G9sus4 chord if you use Dm7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/G instead of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F/G. However, the function of these two chords is the same and they are interchangeable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You find both versions frequently in jazz lead sheets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another frequently used option is to add the major seventh to the top triad, i.e., Fmaj7/G, which would give you a G13sus4 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These chords are used extensively in modern jazz and advanced pop music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Read more about this type of chord in this blog post .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The vanilla example for the application of this type of chord is the piece Maiden Voyage by Herbie Hancock.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 13 } }, { "sents": [ { "text": "In a jazz context, Dom's answer is perfect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, I also want to say that this chord has become extremely common in pop/rock piano-driven music, for example Elton John, Billy Joel, and Stevie Wonder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And especially in musical theater of this style, for example Jason Robert Brown, Stephen Schwartz, and the \"straight to off-off-Broadway\" duos like Kerrigan-Lowdermilk and Salzman-Cunningham.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this context, when you have a chord like F/G resolving to C, I think the simplest explanation is that it's primarily an F chord (and thus you have a plagal cadence), with a 5->1 in the bass that strengthens it a bit by adding a bit of dissonance to be resolved, plus outlining an authentic cadence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you think of it this way, then F/G is really the end of the story.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's an F chord, with a G in the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 5 } }, { "sents": [ { "text": "They are called \"Slash chords\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Often they exploit the fact that just about ANYTHING can act as a dominant if rooted strongly by the dominant note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You could analyze all the chords here as some flavour of G chord.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "But slash notation is much more helpful.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You could also describe this sort of thing as various chords over a \"dominant pedal\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 3 } }, { "sents": [ { "text": "It does get called an 11th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As in, for example, E,G#,B over an F# bass is F#11.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not an E based chord as expected, but F# (root), E (b7),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G# (9), B (4 or 11)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A nice example of several of these is David Nichtern's 'Midnight at the Oasis'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another way to look at it is an 'E add 2' chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case, in first inversion, putting the F# at the bottom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not a sus 2 which takes the 3 out and puts 2 in instead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "There isn't really a name for these chords, but there is a reason they are used and that may allude to what someone can call them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These chords are way more quartal/quintal in nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's look at the F/G and look at how the notes compare to G as looking from the bass note of each and since the 5th of the bass note is typically implied we'll include the D also.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Notice how we get a quartal stack of G - C - F and a quintal stack of G - (D) -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A looking at G as the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We also can add both together", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it looks like the quartal stack of F - C - G - (D) - A or the quintal stack of A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- (D)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- G - C - F .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This shows that the chord is completely quartal or quintal in nature", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general quartal and quintal chords don't really have names besides the 6/9 chord which is very quintal in nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since the full quartal stack root is also the root note of the chord in the slash chord, I'd call it a second inversion quartal quintad .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a mouthful, but accurate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 2 } }, { "sents": [ { "text": "I agree - as a genre they are often called slash chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Though if you want to instruct someone to play e.g.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F/G - you could say play \"an F over G\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've heard a few people use this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26787/Daviiiide", "score": 1 } } ]

{ "question": "Chords like F/G and C/D are really quite common in jazz, blues and soul music yet I have never heard or been able to find a concise name for them. To be clear, I am referring to any major (or indeed minor) triad with the chord's supertonic in the bass. I hope someone has heard of a term for these even if it is not an official term.", "title": "Is there a term for chords like F/G and C/D?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><terminology><chord-theory>", "link": "music.stackexchange.com/questions/42507", "author": "music.stackexchange.com/users/8482/Tim Hargreaves" }

[ [ "Chords like F/G and C/D are known as Slash chords. Often they exploit the fact that just about ANYTHING can act as a dominant if rooted strongly by the dominant note. You could also describe this sort of thing as various chords over a \"dominant pedal\". ", "They are called \"Slash chords\". " ] ]

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[ 7 ]

[ [ "Chords exploit the fact that anything can act as a dominant if rooted strongly by the dominant note. They are called \"Slash chords\" Chords are often played over a \"dominant pedal\"" ] ]

[ { "sents": [ { "text": "See this Wikipedia article on instrument classification .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many instrument classification systems that have been used at different times and in different situations, so there is not one answer to your question.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Here are probably the three most common classifications for the piano: Percussion due to the fact that the strings are struck by hammers.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other percussion instruments would include drums, tubular bells, and glockenspiels (the latter being a firmly pitched instrument).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Organs and harpsichords would not be considered percussion in this system.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Keyboard due to the fact that many keyboard instruments do not fit into other categories well", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": ", so some systems have a separate keyboard category.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other keyboard instruments in this system would include organs and harpsichords.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Xylophones and glockenspiels would not be considered keyboard instruments in this system.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Chordophone due to the fact that the sound is created by a vibrating string.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other chordophones include guitar and all members of the violin and viol families.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A glockenspiel would be considered an idiophone since the sound is created by a vibrating piece of metal.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "An organ would be considered an aerophone since the sound is created by a vibrating column of air.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 4 } }, { "sents": [ { "text": "The \"tuning\" argument is irrelevant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tuned drums are used in many different world musical traditions, as well as in western classical and popular music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instrument classification is to some extent arbitrary, and many different \"systems\" have been used in different cultures at different periods of history.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In western music, \"keyboard instruments\" are often grouped as a separate category, independent of how the sound is produced - plucking the strings (harpsichord), striking the strings (piano, clavichord), striking tuned percussion resonators (celesta), controlling a wind instrument (pipe organ, harmonium), or purely electronic sound generation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "It's both, and it's neither.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Use such classifications only so far as they're useful to you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For instance, a piano strikes its strings, a harpsicord plucks them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So do we classify the harpsicord as closer to a violin, the piano as closer to a drum?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And both as very different to each other?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Only if it's useful to do so.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "Since the strings inside a piano have to be hit by hammers, activated by pressing the keys, it is supposed to be in the percussion family.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other, earlier keyboards also had strings, but some were plucked somewhat like playing guitar, albeit the quills or equivqlent were activated by pressing the keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, although it has tunable strings, it's the method used to sound them that has the last word.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically, anything that has to be hit - with anything!- is percussion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "The piano is a string based instrument that produces sound by pressing a key that is attached to a hammer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This hammer hits the string associated with the key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From this point of view the piano is more like a percussion instrument with the capability of tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The predecessor of piano is the clavichord which is similar but more simple to the piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It has no legs, it is placed on a table or any flat surfaces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Mostly has a rectangle shape.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was a very common instrument in the 15th century.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other similar instrument is the harpsichord, but the main difference between them is that the strings are pulled or twanged instead of hit by hammers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28138/Balazs", "score": 1 } } ]

{ "question": "Online, I have researched what a piano is, and it says it is a percussion instrument. But when you look inside a piano, there are many strings, which are hit to give the piano its noise. Also, you can tune a piano - like any string instrument. Is a piano a percussion instrument or a string instrument? Piano - Danny Holt http://dannyholt.net/wp-content/uploads/cia_20090408_9164.jpg", "title": "String vs Percussion - What is a Piano?", "forum": "music.stackexchange.com", "question_tags": "<piano><strings><percussion>", "link": "music.stackexchange.com/questions/43784", "author": "music.stackexchange.com/users/27984/Oditi" }

[ [ "There are many instrument classification systems that have been used at different times and in different situations, so there is not one answer to your question. Here are probably the three most common classifications for the piano: Percussion due to the fact that the strings are struck by hammers.", "There are many instrument classification systems that have been used at different times and in different situations" ] ]

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[ 7 ]

[ [ "There are many instrument classification systems that have been used at different times and in different situations. Organs and harpsichords would not be considered percussion in this system. An organ would be considered an aerophone since the sound is created by a vibrating column of air. A glockenspiel would be. considered an idiophone since it sounds like a piece of metal. Some systems have a separate keyboard category for keyboard instruments. Percussion is due to the fact that the strings are struck by hammers, and other percussion instruments include drums and tubular bells." ] ]

[ { "sents": [ { "text": "When we bought the first flute for our daughter, her teacher recommended open keys and the difference was even hearable for us as uninformed listeners, even if their main purpose is microtonal adjustments in pitch by partial covering.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are two further reasons, which I consider as striking: You are enforced, to set your fingers carefully and correct from the beginning (otherwise the hole will not be closed properly and intonation will clearly indicate this).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Closed keys allow a more sloppy approach.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are sets of small plugs available (and sometimes even supplied with the flute), which convert open keys into closed ones.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(According to my knowledge, their use is only reasonable for children.)", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other direction is much more difficult and means exchanging the keys.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 10 } }, { "sents": [ { "text": "Having only experience with open holes, I can't comment on closed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it seems that the latter are geared towards child beginners.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have pretty small hands (well, not that pretty...) and covering holes has never been a problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a fully grown adult, you might as well start as you mean to go on - get an open hole one, and just take care.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll soon get the message if you're not closing properly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're like me, you'll have more trouble with the embouchure than fingering!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good luck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's one of the more difficult instruments to learn, I think.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Carl's price quote seems quite steep.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are lots of pre-owned ones up for grabs, and not a lot to go wrong, unless they've been dropped - but that's the same for most musical instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "A quick look at a couple retail online shops indicates you'll pay (for Yamaha, a good line of starter flutes) around $900 -$1000 for a closed-hole, and maybe $500 more for an open-hole flute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the money doesn't bother you, then go with open-hole for the reasons given in other answers and comments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're not sure you are going to play the flute \"forever,\" then you may want to go cheap.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 3 } }, { "sents": [ { "text": "I would go with the closed hole flute for two particular reasons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First of all, it is cheaper than the open hole flute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is easier for you if you decide that you would not like to keep the instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Secondly, open hole flutes require a more precise hand position than the closed hole, making it more difficult fingering wise no matter the hand size.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, the open holed flutes do allow a much more mature tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And if you feel your fingering is not precise, there are plugs you can buy to close up the holes until your positioning has improved.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are dedicated to playing the flute then the open hole is a better choice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most beginners will get a closed hole because they are not sure they will continue playing the instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The basic answer for you can be determined by", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "which of these qualities is more important to you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hope you enjoy playing the flute as much as I do!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/49422/Abi1507", "score": 2 } }, { "sents": [ { "text": "With a French Horn, a beginners starts on a Single horn and progresses to a Double horn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The single is cheaper and simpler.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A general rule for beginners - especially children - who may very well decide the flute is not for them and take up some other instrument, is to start cheap and simple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Dr Klee says \"most professionals use an open hole Flute\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is your answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You start simple and progress to the more complex, more expensive instrument with the bigger range and tone as the learner becomes more proficient and can attempt more complex pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/54719/Landers", "score": 1 } }, { "sents": [ { "text": "A few more things I want to add are: With open holes, a flutist can produce a wider range of special effects, which is common in modern music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Like, he can cover only part of the hole and alter the pitch this way.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Closed holes flutes have a bit brighter sound and you can move your fingers around a bit without losing the note, whereas in the closed holes the tone is darker.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 0 } } ]

{ "question": "By looking to various flutes online, I saw that there are two types of flutes: Open Holes Flutes Closed Holes Flutes As an adult beginner, what should be taken into consideration before deciding which category of flute to buy from? I can understand that for children, it might be easier to buy a flute with closed holes, because their fingers might not be big enough to cover the holes, but this is not the case here.", "title": "Choosing a flute for an adult beginner: Open or closed holes?", "forum": "music.stackexchange.com", "question_tags": "<beginner><flute>", "link": "music.stackexchange.com/questions/44361", "author": "music.stackexchange.com/users/7356/Shevliaskovic" }

[ [ "Open hole flutes are considered better for beginners. You are enforced, to set your fingers carefully and correct from the beginning (otherwise the hole will not be closed properly and intonation will clearly indicate this). Closed keys allow a more sloppy approach. Moreover, with open holes, a flutist can produce a wider range of special effects, which is common in modern music. Closed holes flutes have a bit brighter sound and you can move your fingers around a bit without losing the note, whereas in the closed holes the tone is darker.", "There are differentiations when selecting a flute with open or closed keys" ] ]

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[ 7 ]

[ [ "There are two further reasons, which I consider as striking: You are enforced to set your fingers carefully and correct from the beginning. Closed keys allow a more sloppy approach. There are sets of small plugs available (and sometimes even supplied with the flute), which convert open keys into closed ones.", "With open holes, a flutist can produce a wider range of special effects. The other direction is much more difficult and means exchanging the keys. Closed holes flutes have a bit brighter sound and you can move your fingers around a bit without losing the note." ] ]

[ { "sents": [ { "text": "Try something like this: It separates out the main voice, and, by two means, shows that it is emphasised.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's also relatively neat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 7 } }, { "sents": [ { "text": "Use a smaller note head for the non-melody notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This would be easy to sight read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or you could write an additional ossia-type line showing just the melody notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In either case, an explanation won't hurt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you only need it for this one measure, you can just write it out: \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "highlight notes such and such\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3300/nonpop", "score": 4 } }, { "sents": [ { "text": "Without knowing for how long this layout continues, I would split into two treble clefs, with probably the melody in the lower clef to be played by the left hand.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Doing it this way makes it easier to read and to play.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "As it's currently written, the left hand has nothing to play, while the right hand is asked to do some very unnatural things.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "If this pattern continues for a while, and the left hand will be otherwise occupied, then I would write the melodic notes with down stems, and the rest up, assuming that most of the melodic notes are lower than the rest of the chords.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, I would really reconsider writing for piano this way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First, it's not very pianistic, and reads and feels like it's a literal transcription of a work written for other instrumentation, perhaps an ensemble.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One solution is to move either the accompaniment or the melody to the bass clef an octave lower.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another is to invert the chords so that the melodic line is on top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As is, I'm not sure what effect you're trying to achieve.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a comparison, look at the first movement of the Beethoven Waldstein sonata, in the chorale-like chordal section where be employs a similar technique with inner voices as the melodic line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The way that's written, it's very clear what the effect is that he's looking for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28858/Max Finis", "score": 1 } }, { "sents": [ { "text": "I think the neatest way to do this is almost what you did in your example: use a different style of notehead for the emphasized notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course this breaks \"the rules\" about note lengths, but it should be obvious to most players what it means.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could add a note explaining that the \"white\" noteheads in the chords should be emphasized.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Incidentally, this is quite easy to do in Lilypond (if you first read and memorize the entire manual, of course!):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\\relative c' {<< { \\stemUp <d g", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a> <a' c d> <d, a' b> <f a", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "> } { \\stemUp b2*1/2 f g c, }>>}", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it won't cause any issues with printing the score, you could use solid colored noteheads for the emphasized notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } }, { "sents": [ { "text": "I'm going to go against the grain here with some tough love.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're not the composer, then kindly disregard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The primary issue in my opinion isn't how to notate this, it's how to avoid making decisions that leave you in this position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This isn't laziness - it's good form.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The composed music itself should be clear enough on its own so that the performer (and listener) knows what's happening structurally without any special devices/techniques.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28777/hailthemelody", "score": 1 } }, { "sents": [ { "text": "The suggestion by Patrx2 is quite neat, but here's another technique you can use to indicate this kind of voicing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously, if you are writing for (human) voices, you can simply split them onto separate staves, but if the notes are to be played by one hand on the keyboard, it is not very friendly to split them up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the other hand, if this can be played by two hands, it is much easier to split them onto two staves, and this is the simplest way to play, too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15487/Brian Chandler", "score": 1 } }, { "sents": [ { "text": "My first thought would be to split the notes into treble and bass clefs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is traditionally thought of as the treble will be the 'tune' while the bass is the 'accompaniment'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will obviously involve a few leger lines, and possibly accentuation marks in the treble, but I can't think of a more apposite way to portray what you want played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or do similar with upward and downward stems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the possibilty of octaving (?) the highlighted notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 0 } } ]

{ "question": "I have the following set of chords for piano. How can I tell the performer to either stress or underline specific notes in the chord (so as to show the melody), i.e. the notes on the heads of which I've marked their names? Is there a notation technique that should do it? Should this be done by having two voices (as in Tchaikovsky's April)? In this case, the notation would become messy.", "title": "How to notate that a specific note be underlined in a piano chord?", "forum": "music.stackexchange.com", "question_tags": "<piano><notation>", "link": "music.stackexchange.com/questions/44841", "author": "music.stackexchange.com/users/18659/Veo" }

[ [ " To notate that a specific note be underlined in a piano chord, without knowing for how long this layout continues, it is recommended to split into two treble clefs, with probably the melody in the lower clef to be played by the left hand. If this pattern continues for a while, and the left hand will be otherwise occupied, then I would write the melodic notes with down stems, and the rest up, assuming that most of the melodic notes are lower than the rest of the chords. ", "Split into two treble clefs" ] ]

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[ 7 ]

[ [ "Without knowing for how long this layout continues, I would split into two treble clefs. Doing it this way makes it easier to read and to play. As it's currently written, the left hand has nothing to play, while the right hand is asked to do some very unnatural things." ] ]

[ { "sents": [ { "text": "There are similar questions around, and this is sort of answered already.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The left hand contains two separate 'voices'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The higher one keeps moving upwards, while the lower one stays on and holds the low A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It just happens that both 'voices' start on that same A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "On a keyboard instrument, it means the same as the first example below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the long note was a half-note rather than a whole-note, it is often written as in the second example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In an orchestral score where the parts for two instruments are written on one staff to save space, it means that one instrument plays the four 8th-notes, and the other instrument plays the whole note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "I would read this as (assuming bass clef) holding the A for 4 beats and the rest of the notes in the arpeggio are not held until you get to the C. this is all done in the left hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30196/Mike Rinehart", "score": 2 } }, { "sents": [ { "text": "It shows a musical intention, not precise instructions for playing technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The low A is to be sustained throughout the bar, it is also the first note of the LH arpeggio.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of the piano emulating two instruments if you like - a cello and a harp!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unless the player has very large hands, use of the sustain pedal is implied.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "This implies playing two voices with the left hand, both starting on low A, but one continues and the other stays.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So basically you hold the A for the whole bar, but its character and relation to the next eighth note must be such that the listener also perceives it as the starting note of a phrase in eighths.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This implies that the eighth phrase cannot be phrased as staccato (as you could not play its first note staccato), it implies that the phrasing of the remaining three eighths in the first two beats does not suggest an anacrusis or upbeat (in which case it could start minisculely late with a tiny acceleration and its weight focused on the following beat rather than the previous one).", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "In short, even if your execution cannot actually play two notes at once on a single-manual keyboard, the rendition should be as consistent with the indicated presence of two voices with a common starting pitch as possible.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you are a Midi robot, forget about all that phrasing mumbojumbo and just put the key release event for the starting note at the end of the bar.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } } ]

{ "question": "What is this and how do you play this?", "title": "What is this double-note and how do you play it?", "forum": "music.stackexchange.com", "question_tags": "<piano>", "link": "music.stackexchange.com/questions/45167", "author": "music.stackexchange.com/users/30190/user30190" }

[ [ "This note implies that the eighth phrase cannot be phrased as staccato (as you could not play its first note staccato), it implies that the phrasing of the remaining three eighths in the first two beats does not suggest an anacrusis or upbeat (in which case it could start minisculely late with a tiny acceleration and its weight focused on the following beat rather than the previous one). In short, even if your execution cannot actually play two notes at once on a single-manual keyboard, the rendition should be as consistent with the indicated presence of two voices with a common starting pitch as possible. ", "The A is the starting note of a phrase in eighths" ] ]

{ "rel_sent_not_in_cluster": [ true ], "cluster_sents_not_matched": [ [ "It implies that the eighth phrase cannot be phrased as staccato (as you could not play its first note staccato), it implies that the phrasing of the remaining three eighths in the first two beats does not suggest an anacrusis or upbeat (in which case it could start minisculely late with a tiny acceleration and its weight focused on the following beat rather than the previous one)." ] ] }

[ 7 ]

[ [ "The A is the starting note of a phrase in eighths. It must be in relation to the next eighth note so that the listener also perceives it as a starting note. This implies that the eighth phrase cannot be phrased as staccato. It also implies the phrasing of the remaining three eighth in the first two beats does not suggest an anacrusis or upbeat. If you are a Midi robot, forget about all that phrasing mumbojumbo and just put the key release event at the end of the bar." ] ]

[ { "sents": [ { "text": "Typically a lead guitarist plays melody lines with a rhythm guitarist and other instruments such as bass, drums, keyboard etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A solo guitarist, however, is always the only guitar, and is sometimes the only instrument (you can have a single person singing and playing solo guitar, or you can have guitar and drums etc.)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So the definition is simply to distinguish between the only one, or the lead one.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 10 } }, { "sents": [ { "text": "Here is my 2 cents worth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The answer probably depends on the situation and context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also probably depends on what whoever uses the respective terms mean.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Lead Guitarist\" is commonly understood to refer to the guitarist in a band who plays the \"guitar solos\" and fancier fills, runs, and licks along with a \"rhythm guitarist\" who maintains the rhythm by playing mostly chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because a lead guitarist is the one who plays the guitar solo's -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's possible that some folks could refer to a lead guitarist as a solo guitarists.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However in my opinion, that would be a misnomer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The word solo means one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A part of a song that features a single instrument while the other instruments maintain the rhythm but stay in the background, is often referred to as an \"instrumental solo\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if I used the term \"solo guitarist\", I would be describing a solo musician who is playing without any other musicians (by themselves) and who's instrument was a guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I often play guitar to accompany my singing as a lone (solo) musician and I would refer to myself as a solo guitarist in that context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A classical guitarist who plays solo (by themselves) would also qualify as a \"solo guitarist\" by my definition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hang around and talk with many musicians and have over 100 musician friends", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I am not aware of any who use the term solo guitarist to refer to the lead guitarist if there is more than one guitarist on stage at a time (even though the lead guitarist plays the guitar \"solos\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However it is quite possible that in a band with only one guitarist - that one guitarist could be referred to as a \"solo guitarist\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I think it would be less confusing in that situation just to refer to that musician as \" the guitarist\" or \"the guitar player\" - not the \"solo guitarist\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You are free to refer to any guitarist any way you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if you say \"lead guitarist\", I am going to assume you mean the guitar player who plays \"lead\" or plays the parts of the song identified as \"guitar solo\" .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you say \"solo guitarist\", I am going to assume there is only one guitarist and probably only one musician period (playing solo).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unless of course you use that term in a context where there are clearly other musicians or other guitarist - in which case I will know that your definition of \"solo guitarist\" and mine - are not the same.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/16897/Rockin Cowboy", "score": 6 } }, { "sents": [ { "text": "In terms of position or general role in a band I don't find much distinction between the term \"lead\" and \"solo\" guitarists.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When was the last time you heard a guitarist who ONLY played solos?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One useful distinction between the two is compositional focus.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the part played by the lead guitarist becomes the focus of the song at that point, they becomes the \"solo\" guitarist for the duration of their part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitar players like Satriani and Paul Gilbert who have entire albums written around their leads can be considered solo guitarists for the whole album.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other distinction comes from the accompaniment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're the \"lead\" guitarist, you lead the accompaniment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're a \"solo\" guitarist, you have no accompaniment", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you play by yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Outside of this I find that the terms get used rather interchangeably.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/34897/Matthew Mccall", "score": 3 } }, { "sents": [ { "text": "There are some guitar players who have played unaccompanied.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some diverse examples: Joe Pass, John Fahey, Martin Taylor, Leo Kottke, Andres Segovia, Tommy Emmanuel,....", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These players play what is broadly known as solo guitar music, and it makes sense to call such players solo guitarists .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the larger musical world, players who play with bands or orchestras sometimes take over the focus of the music to play solos ; these solos may even be the central feature of the music in some cases.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These players are called soloists .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think Itzhak Perlman, Louis Armstrong, Sonny Rollins, Jacqueline du Pré, Jaco Pastorius,.... Guitar soloists include players like Jim Hall, Steve Vai, Steve Morse, Pat Martino, Joe Satriani, Wes Montgomery, Pat Metheny, Paul Gilbert, Grant Green,.... A lead instrument is one that takes over the melody at some point in a piece of music, and this is what a lead guitar does when it plays a solo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, lead guitarist is just another term for guitar soloist .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39614/ex nihilo", "score": 3 } }, { "sents": [ { "text": "\"Lead Guitar\" is a term used in 60s-style \"groups\" (like the Beatles) where Lead Guitar played the clever stuff, Rhythm Guitar strummed the chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A \"Solo Guitarist\" is a guitar who has a solo to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe completely alone, maybe in a concerto situation, maybe as a featured member of a guitar ensemble.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't over-think it!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "A lead guitarist plays with a band, playing melodies over the chord changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A solo guitarist just plays music on their own.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30681/WilliamCork", "score": 1 } }, { "sents": [ { "text": "Lead guitarist usually plays in a Band and have interludes and solos parts to play also he plays along the riff or the riff itself in the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eg Kirk Hamette from Metallica", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But solo guitarist plays only solo and have its own band to play with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eg.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Joe Satriani.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30656/chetan", "score": 0 } } ]

{ "question": "What is the difference between \"a lead guitarist\" and \"a solo guitarist\"?", "title": "What is the difference between \"a lead guitarist\" and \"a solo guitarist\"?", "forum": "music.stackexchange.com", "question_tags": "<guitar><terminology>", "link": "music.stackexchange.com/questions/45741", "author": "music.stackexchange.com/users/30648/Decembrist" }

[ [ "Typically a lead guitarist plays melody lines with a rhythm guitarist and other instruments such as bass, drums, keyboard etc. A solo guitarist, however, is always the only guitar, and is sometimes the only instrument (you can have a single person singing and playing solo guitar, or you can have guitar and drums etc.) ", "Typically a lead guitarist plays melody lines with a rhythm guitarist and other instruments. A solo guitarist, however, is always the only guitar. " ] ]

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[ 7 ]

[ [ "Typically a lead guitarist plays melody lines with a rhythm guitarist and other instruments. A solo guitarist, however, is always the only guitar. So the definition is simply to distinguish between the only one, or the lead one." ] ]

[ { "sents": [ { "text": "The simple answer is no.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of it this way:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Does a composer write pieces only for instruments he can play?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No, he does not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He might compose pieces for instruments that he has never touched in his life.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't have to be a virtuoso pianist to compose fast music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You have to learn how to imagine what you want to compose.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can imagine your piece at a fast tempo, you can write it down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should be able to hear it in your head, but if you cannot, nowadays you can easily download a DAW that can play the piece for you and see how it sounds (if this is your problem).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can write the notes and the DAW will play it back for you", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The sound outcome won't be like a real pianist playing the song, but it'll help you understand some parts if you cannot figure out how they sound exactly).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 22 } }, { "sents": [ { "text": "I think it is a common misconception that playing fast makes you great at your instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing slow music correctly and in time, with good interpretation is to me much more of a skill tester than playing fast.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many times when there is music played a high tempo the speed takes center stage and a lot of the principles of good melody takes a back burner, but because it is played fast the somewhat boring melody gets masked by a million notes being played in a minute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To the OP though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think you need a certain skill set in a instrument an instrument to compose for it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You do need a good understanding of it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This understanding can come from playing the instrument well, but not always.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think it fair to say many of our great composers over the ages did not play every instrument in the orchestra, but they still understood how they worked.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They definitely used this knowledge in there compositions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So no, don't get too hung up on how fast you can play the piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Compose good music and let the quality of the music speak for itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 10 } }, { "sents": [ { "text": "Shevliaskovic has it spot on :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should be able to hear it in your head That, IMO, pretty much wraps up what composing is all about: imagining how something would sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, one way to get this imagination is to actually listen to different possible options, by trying stuff on an instrument or a MIDI editor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that's totally not necessary!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact I'd go as far as saying it can be counterproductive to immediately play/listen to every detail as you write it: this often distracts from the grand concept.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, if you have some melodic ideas and think they would sound good in a fast tempo – just write them down as such!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't matter if you can play any of it in the proper tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OTOH, you shouldn't just write something unplayably fast either just for the sake of having a fast movement .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the way it feels natural happens to be in a tempo you can also play yourself, then all the better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anyway, especially for a solo piece the choice of tempo is largely up to to the performer .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should certainly have a rough idea of how fast the piece should be, but a good composition will usually sound good in quite a range of different tempi.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can yourself play it in a slow tempo and it sounds good, then chances are a virtuoso pianist will be able to play it faster and it'll sound even better – unless a fast tempo specifically contradicts the mood of the piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A bit of an edge case is if you can play everything slow and each individual movement sounds good this way, but the whole piece gets boring like that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case it's possible that speeding up one movement will to the trick to make the whole thing a round entity, but I wouldn't rely on it: boring and fast can also be just boring and annoying.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hence again the imagination bit: if you can imagine it in fast tempo and it feels exciting, then it probably is good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can't imagine it, then it probabably needs some more thorough thinking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 5 } }, { "sents": [ { "text": "No, you don't have to even play an instrument to write for it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But you need to know how to write for that instrument, otherwise you can write things that are not playable, or that don't work well on the instrument.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Since you are asking the question, you don't know well how to write for piano, therefore I suggest you get advice from a good pianist who can play and try your ideas on the piano.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "That should help you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10095/George", "score": 2 } }, { "sents": [ { "text": "I would say no you may not be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However you should have a very clear idea of what the music sounds like in your head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Composers who composed symphonies and so on were not able to make play or replay a whole orchestra just to arrange their music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Their minds were playing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/27663/Blue_Elephant", "score": 1 } }, { "sents": [ { "text": "No; you can compose music for an instrument or for vocals without you even knowing how to play that instrument or sing it for yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, you should have a feel of the piece before you finalize, so that it could perfectly fit into the whole composition.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To accomplish this without hiring a virtuoso pianist, try free phone apps and place the notes/pitch in the track staff lines of the apps and change the instrument as you wish and hear the real music on the phone app.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Most MIDI with music notation apps support this feature on phone and tablets, for example Music Tool Kit from Google Play for Android phones.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48211/Bruce", "score": 0 } } ]

{ "question": "I was about to compose my third movement of my first sonata, but the other movements are notated Andante and Adagio. I would want my final movement to be notated Allegro or something even faster than Allegro, but can't seem to compose fast music. Is there anyway I could compose faster music without being a virtuoso pianist? Or I have to become one to compose this kind of music?", "title": "Do I have to be a virtuoso pianist to compose faster music?", "forum": "music.stackexchange.com", "question_tags": "<piano><composition><tempo>", "link": "music.stackexchange.com/questions/45808", "author": "music.stackexchange.com/users/27995/Isaac Yang Hao Tung" }

[ [ "It is not necessary to be a virtuoso pianist to write music for the piano. You don't have to even play an instrument to write for it. But you need to know how to write for that instrument, otherwise you can write things that are not playable, or that don't work well on the instrument.", "No, you don't have to even play an instrument to write for it. " ] ]

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[ 7 ]

[ [ "No, you don't have to even play an instrument to write for it. But you need to know how to writing for that instrument. Maybe you get advice from a good pianist who can play and try your ideas on the piano." ] ]

[ { "sents": [ { "text": "Assuming these are informal jams, you just don't have the authority to fire incompetents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think the only possibility is to endure the fact that the material will not be played correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But do at least point out what \"swing\" means when they try to \"correct\" those who are playing it correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is it tactless to teach someone the truth?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18664/Andy", "score": 5 } }, { "sents": [ { "text": "The only way I am aware of improving (or practicing) swing feel is to play with a metronome but set it so the click is on the 2 and 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Emily Remler goes through it in her tutorial videos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have no idea how this would translate to a group jam though!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/953/Robben_Ford_Fan_boy", "score": 4 } }, { "sents": [ { "text": "If you're playing straight and switch to playing swing, the 'and's move but the strong beats don't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might be that the players who are trying to play swung are pushing the strong beats around too, which would be disconcerting to the other players.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd suggest an exercise where everyone plays the same line (a fragment of a scale for instance)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "first straight and then again swung.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can also try clapping exercises like this, where you silently count the lower-case and then CLAP the upper case: one-and two-and three-and four-CLAP", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 'ands' and the CLAP move around depending on whether your quavers are swung or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other thing I tell my beginner brass band when they're playing swung quavers is to make the first note in each pair long, and to make gaps between all notes as short as they can, whilst still articulating every note and not slurring it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without this reminder, the tendency is to play the first note of each pair too short - and the result is a very 'polite' performance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you lengthen the first note in each pair the performance has far more attitude and sounds much jazzier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 4 } }, { "sents": [ { "text": "Honestly you should bring in some tennis balls and make a game out of it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've taught this with eurhythmics before.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically have people walk to a beat and start bouncing the ball on the 8th note, and then after they do that comfortably have them do the same, only swing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can work with whatever rhythms you need in this way", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it feels kind of silly at first but in general it's really fun and people tend to get into it once they're over the silliness.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can also do it with 2 people where they alternate beats and then bounce the ball to each other for the swing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A little unusual but it works and they use this stuff to teach really young kids about rhythm, so older people shouldn't have a problem with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30965/Tam Hartman", "score": 4 } }, { "sents": [ { "text": "The best way I've found is to have a solid rhythm section that knows what to do.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Primarily the drummer.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If he plays a swing rhythm, basically on hi-hat/cymbals, that sets the groove.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As a bass player will be playing on the beats more than the offbeats, he won't swing until he puts something like ghost notes on the offbeats as well.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But not constantly.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The guitarist will help, as his upstrums will either be in a straight 8 or swing feel.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Working together to produce this, the other players usually get pulled along into that swing (or any other) feel.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Interestingly, a lot of the late '50s, early '60s pop music had something like the feel your band has.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The older players preferred to swing, while the young upstart guitarists wanted to play straight.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It can be heard on some of the early Elvis tracks.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } } ]

{ "question": "In a couple of jams I've been in recently there are players who play swing and jazz music but who play it as straight-eighths. Worse, they try to correct the other players who are swinging the beat because they hear it as unsteady. What is a relatively tactful way of teaching these players how to swing in a group setting?", "title": "Teaching others how to swing", "forum": "music.stackexchange.com", "question_tags": "<rhythm><jazz><jamming><swing>", "link": "music.stackexchange.com/questions/46453", "author": "music.stackexchange.com/users/10635/pro" }

[ [ "The best way to teach people how to swing is to have a solid rhythm section that knows what to do, especially the drummer. If he plays a swing rhythm, basically on hi-hat/cymbals, that sets the groove. As a bass player will be playing on the beats more than the offbeats, he won't swing until he puts something like ghost notes on the offbeats as well. The guitarist will help, as his upstrums will either be in a straight 8 or swing feel. Working together to produce this, the other players usually get pulled along into that swing (or any other) feel.", "Drummer, guitarist, bassist and guitarist need to work together to produce a swing rhythm" ] ]

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[ 7 ]

[ [ "Drummer, guitarist, bassist and guitarist need to work together to produce a swing rhythm. Older players preferred to swing, while young upstart guitarists wanted to play straight. A lot of late '50s, early '60s pop music had something like the feel your band has. It can be heard on some of the early Elvis tracks. The swing feel can also be found on some early Elvis songs, including \"I Want You Back\"" ] ]

[ { "sents": [ { "text": "Oftentimes 11th chords are voiced without the chordal third.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is because the chordal third can often conflict with the 11th to create an unwanted dissonance.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Imagine, for instance, we want a C11 chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Technically speaking, this chord would consist of C E G Bf D F .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, the minor 9th between E and F can create a dissonance more harsh than is intended.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As such, composers will often just omit the chordal third.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is actually why you've found so many more #11 chords: because here the chord will be C E G Bf D F# , and the dissonance from E to F# is now a major ninth, which is much more palatable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Interestingly, now you have a major seventh between the G and the F# in the #11 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For some reason, this dissonance of a major seventh (a half-step adjusted by an octave) is okay.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Meanwhile, the minor ninth from the original E to F ( also a half-step adjusted by an octave!) is less desirable...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "funny how that works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But typically these extended chords just function as dominants.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can throw them in wherever you see a dominant and see how you like it; just make sure the melody isn't hanging out on the chordal third that you're omitting!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, they don't have to be dominants; that was just an easy example to get you experimenting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's something called a \"rock dominant\" that is just a IV chord played above the fifth scale degree.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In C major, this would be F A C occurring over G , which creates a V 11 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 13 } }, { "sents": [ { "text": "Believers in the \"pile of thirds\" get uncomfortable when you mention the 11th :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, the #11 is far more common.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't fit into functional harmony nearly as well as the 9th or 13th, it's normally more of a colourful decoration (like an added 6th or 2nd).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A sus4 chord (whether or not it resolves) or a F/G is sometimes incorrectly labelled as an 11th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The incorrectness wouldn't matter so much if it wasn't for the confusion whether \"G11\" is intended to mean G7sus4 or F/G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the sort of harmonic shorthand that uses chord symbols I think we could be confident it WOULDN'T mean G, B, D, F, A, C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's something that could be a full 11th chord though, bar 3 of 'Hey Jude'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think there's more than one chord in that bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not going to notate it as G11 though, or someone will play a G7sus4 or a F/G. Better to leave it as G7 with both C and B in the melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 6 } }, { "sents": [ { "text": "Yes, but not many of them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See my response to https://music.stackexchange.com/questions/45965/what-is-the-mood-of-the-eleventh-chord/45967#45967 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In truth, the min11 begins my favorite tritone substitution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And those eleventh chords that are not dissonant have an uncommon feel about them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(For further information, check out \"avoid notes\" and map out the elevenths that have them and those that do not.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the record, that tritone sub is iimin11 - bIIdom7#11 - Imaj7 (in A), all pedaling the high E voice (in the fifth position) with both the open string and the fretted note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that a better question may be \"Does anyone play 11th chords with a major third?\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6780/Kirk A", "score": 3 } }, { "sents": [ { "text": "\"Muddy\" isn't the same as \"dissonant\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The simplest way to avoid mud in any chord voicing is to avoid intervals of a third at the low end of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The underlying reason for that voicing strategy is because equal-temperament thirds are horribly out of tune compared with \"pure\" just intonation intervals, though having listened to them from birth many people tend not to notice how out of tune they are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An equal-tempered major third is almost 1/6 of a semitone wider than a pure third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Below middle C, that creates out-of-tune beats that are almost slow enough to count, if you listen carefully.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A C11 chord can be built mostly from a stack of fourths :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C F Bb E G, F Bb E G C, or G C F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb E.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That will sound much less \"muddy\" than a stack of thirds , which may be the \"obvious\" way for a relative beginner to think about the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With those voicings, a C minor 11 chord (with Eb) has every interval a perfect fourth, except for the third Eb to G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "The dominant 11th and minor 11th chords are used a lot in soul music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want a super popular example, listen to Justin Timberlake's", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Can't Stop the Feeling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "they are found in almost every song by Jamiroquai or Stevie Wonder, lots in Micheal Jackson, stuff like that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The lack of usage reflects mostly the way that music theory is taught - JUST STACK THIRDS, THAT SOUNDS GOOD.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Stacking fourths gives a more open, ambiguous sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can play any bass note under them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50891/adam", "score": 2 } }, { "sents": [ { "text": "Yes, a lot of people do!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "„", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So what chords“ are 11th chords: http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-chord-voicings/so-what-chord/ 11th and sus4: is this the same chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No: 11th contains the third: in major this will sound quite dissonant! https://www.reddit.com/r/musictheory/comments/221bid/whats_the_difference_between_sus4_and_11th_chords/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 0 } } ]

{ "question": "When I try to construct 11th chords, they always sound horrible and muddy. I also rarely come across them in chord charts unless it's a #11. The only extensions that sound good are 9ths and 13ths. Is there any use for 11th chords? Does anyone use them, or know of any examples of their usage?", "title": "Does anyone play 11th chords?", "forum": "music.stackexchange.com", "question_tags": "<chords>", "link": "music.stackexchange.com/questions/47861", "author": "music.stackexchange.com/users/32501/William" }

[ [ "Oftentimes 11th chords are voiced without the chordal third. This is because the chordal third can often conflict with the 11th to create an unwanted dissonance. Imagine, for instance, you want a C11 chord. Technically speaking, this chord would consist of C E G Bf D F . However, the minor 9th between E and F can create a dissonance more harsh than is intended. As such, composers will often just omit the chordal third. ", "Oftentimes 11th chords are voiced without the chordal third." ] ]

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[ 7 ]

[ [ "Oftentimes 11th chords are voiced without the chordal third. This is because it can conflict with the 11th to create an unwanted dissonance. As such, composers will often just omit the chordial third. The chordal Third is the third most important chord in every 11th chord." ] ]

[ { "sents": [ { "text": "Do you wish to shorten the duration of the whole piece (take the time from the entire composition) or just shorten that syllable (leaving something of a short rest after that note)?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd notate the first case with a changed time signature and a shortened note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the second case, I'd probably just go for a staccato mark on the note; a shortened note followed by a rest is also possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 10 } }, { "sents": [ { "text": "What you're looking for is actually the opposite of an agogic accent .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Specifically, some agogic accents slightly lengthen the measure they're in (this is the third type currently listed on Wikipedia, which states that the accent has \"the effect of temporarily slowing down the tempo\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, there is no such thing in standard (modern) musical notation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only way to shorten a single measure is to temporarily change the time-signature and/or the tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, as a composer living in the 21st century, feel free to introduce your own ad-hoc notation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just be sure to add a note in your score explaining what the notation means.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Alternatively, as noted in another answer, you could use the archaic form of notation that was traditionally used when notating Gregorian chants, since it appears that that's what you're notating.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5693/Kyle Strand", "score": 5 } }, { "sents": [ { "text": "I guess, the nearest match is a staccato , marked by a dot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically it is assumed, however, that only half of the notated value is played, and the other half is left as rest before the next note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As I understand your problem, you don't want the rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that case, I see two options: Rely on the intelligence of the singers or the conductor Change bar length for this single bar and change", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it backin the next one", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 3 } }, { "sents": [ { "text": "Mark the quickened note(s) with accel or accelerando then mark the downbeat of the subsequent bar with a tempo .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That being said I'm guessing you are micromanaging the performance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As composer, maybe you could relax a bit; consider simply marking the section rubato and let the musicians apply their own interpretation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9774/John Wu", "score": 3 } }, { "sents": [ { "text": "A staccato dot would likely indicate too much of a shortening, so a tenuto bar might be appropriate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if you say you are \"notating musical chant\" there might be some point in actually using square note chant notation for it since the comparatively free but substructured rhythmic/melodic flow of chant tends to be more aptly expressed in that manner than with \"modern\" notation with its more rigid timing based on subdivisions of 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32800/user32800", "score": 2 } }, { "sents": [ { "text": "Many choral composers use breath marks, but Daniel Pinkham (motto: \"Make your scores conductor-proof!\") would always write shorter note values when he wanted a breath, or an ending consonant placed before the next note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He knew from experience that if you leave it ambiguous conductors might do any number of different things and thought it was better to specify the exact amount of shortening you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For music in free rhythm like composed chant, though, a breath mark might be better, since the rhythm is not precise to begin with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 2 } }, { "sents": [ { "text": "I just stumbled upon this and honestly think the fermata followed by a breath mark might do 2 things:1.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Confuse people.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the one hand you're telling them to play the absolute full value of the note (the fermata), but then you're telling them to breathe before a staccato note, which is kinda weird to do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The two aren't intuitive to do together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably not get the result you are looking for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was just thinking about how to write \"Don't play the full value of the note and for classical notation", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd lean towards an eighth note tied to a sixteenth note, followed by a rest.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For more simple notation, I decided to go with just a breath mark, as that is likely to achieve the desired result.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope that gives some insight or help.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/41591/user41591", "score": 1 } }, { "sents": [ { "text": "Provided another note immediately follows, I would use a breath mark right after the note you want to shorten.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In order to breathe, the singers have to stop a tiny bit (not as much as with staccato ) and, since they need to still be in time to play the next note at the intended time, they need to shorten the previous one.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10337/Zachiel", "score": 0 } }, { "sents": [ { "text": "This has been in insightful interaction.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thank you all very much.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Apparently there isn't an \"opposite of a fermata\" and numerous approaches have been suggested.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "None of them simple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think this speaks to the idea that it's much more common in music to stretch than shorten a note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since I'm not writing for musicians or conductors, but for \"yogis\" and others who are into chanting, this needs to be simple, and easy on the eyes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The way I have seen the chant written out previously is with a measure of 5 - nothing shortened.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What I'm liking today is a fermata over the previous note, followed by a breath mark.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's supposed to be \"half a breath\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Would love some more feedback as I consider \"accepting\" this \"solution\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14836/MikeiLL", "score": 0 } } ]

{ "question": "I'm notating a musical chant and there is a part where there is a shortened syllable. I don't think changing the time signature and/or shortening the actual rhythmic value of the note makes sense. However, I do want the overall duration of the measure containing the note in question to be shortened. Is there a way of writing something like a fermata, but meaning to shorten the length of the note a tiny bit?", "title": "Opposite of a Fermata?", "forum": "music.stackexchange.com", "question_tags": "<notation><rhythm>", "link": "music.stackexchange.com/questions/48199", "author": "music.stackexchange.com/users/14836/MikeiLL" }

[ [ "To shorten a note a little bit, provided another note immediately follows, you should use a breath mark right after the note you want to shorten. In order to breathe, the singers have to stop a tiny bit (not as much as with staccato ) and, since they need to still be in time to play the next note at the intended time, they need to shorten the previous one.", "Use a breath mark right after the note you want to shorten. " ] ]

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[ 7 ]

[ [ "Use a breath mark right after the note you want to shorten. In order to breathe, the singers have to stop a tiny bit (not as much as with staccato)" ] ]

[ { "sents": [ { "text": "Western classical and Indian classical violin are very, very different styles.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The main similarity is that they use the same instrument, so if you learned one style, you would have a head start learning the other.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Similarities :For either style, you will need to be familiar with your instrument and learn where to find notes, and how to control the bow.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Differences :There are a lot more differences than similarities.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "How the instrument is held: In western music, the instrument is held at your neck, and is played either standing or seated in a chair.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In Indian classical, it is usually played seated on the floor, with the instrument upright and the bottom of the instrument's body supported by the ground.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It would be very, very difficult to switch between these for someone who hasn't extensively practiced both positions.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Musical Theory :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both styles use rhythm and pitch as the core of making music, but the details are profoundly different.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are differences in how the styles use scales, whether and how they use harmonies, what notes are considered notes, the use of improvisation, in how rhythm is used, and more.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "These differences are at such a basic level that even a beginner's very first lessons will be very different between the styles.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Conclusion: I play western violin, but took a workshop in Indian Classical once.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The differences in the music were huge, and I struggled to frame even the basics in my musical understanding.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you know you want to play western music, I'd start by learning that, rather than learning Indian, then changing styles.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can't find a teacher, I'd suggest using looking for a teacher who will teach over the internet, and in the mean time using internet video lessons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ProfessorV on YouTube is a good place to start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10353/Karen", "score": 5 } }, { "sents": [ { "text": "I learn Indian classical violin and here are basic differences in learning Indian and western style violin, apart from bowing and holding the violin Tuning : Western violin is tuned differently than Indian violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That means that if you play the same positions it sounds differently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It would require a lot of practice to get a mental framework of how an instrument is tuned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Emphasis : The system of Indian classical music gives much more emphasis on melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In some sense, there is no composition without melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Improvisation : 80% of Indian music is improvisation of melodic verses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What this means, is there is no emphasis on sheet music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most instructor ask you sing and know the tonal qualities of a song before you play in a violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This leads to the next point Style : Violin follows another instrument or singer in Indian classical music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means, there is a lot of emphasis on hearing the voice and playing the corresponding note, instinctively, unlike sheet music Harmonies and Chords :There are hardly any harmonies or chords in Indian music, though modern musicians mix it up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Western music gives a lot of emphasis on this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not well versed in this topic to elaborate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Music scales: The scales have some similarities but, Indian music has scales which are more specific, because the music relies on melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is a sense of rigor in improvisation that music feels structured and built on top of simple building blocks of melody and rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally, Indian music is in some sense still religious, with Hindu vocal compositions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I feel western music has separated itself from its religious roots, though I'm not an authority on this subject.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28765/Vignesh", "score": 5 } }, { "sents": [ { "text": "Although you have no teacher, you can still learn from the best!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Checkout", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yehudi Menuhin's Violin Tutorial videos, designed for new learners of Western style violin: Ultimately playing the violin comes down to listening, to yourself, and to others performing on the violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Learning western music notation will allow you to pick up a book on violin technique (etudes) which will slowly guide you into the proper technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although there are many resources to teach you various aspects of technique available on the internet, there will come a point (sooner than later)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "when you really should have a teacher to guide you forward, and keep you from turning initial bad habits (like bad posture, incorrect bow hold, etc) into permanently flawed technique, limiting your playing possibilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3257/xxfelixxx", "score": 2 } }, { "sents": [ { "text": "You can start in Indian or Western classical music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you gain proficiency in either you may switch to other with ease.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, again, it depends from person to person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In my opinion your choice will be governed more by the availability teachers, the time you can devote, and most important the place to practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So for example if you are living in an apartment, and want to practice your instrument, the others may get disturbed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In my very own case, my learning has been very staggered, for many reasons, like teachers got transferred, I got transferred, or plain laziness on my part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One thing is sure for whichever style you follow is that you need to develop a musical \"ear\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For that listen to a lot of music, and youtube videos are a great source.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are interested in western classical try locating videos of Yehudi Menuhin, Itzhak Perlman (Vivaldi RV 356 is my personal favorite), Amadeus Electric (Habanera from Carmen).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I am not a violinist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to learn the theory part of Western Classical you may want to refer to \" http://shop.trinitycollege.com/shop/powersearch/powersearch_results.asp?search=theory+of+music+workbooks \".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These book are available on flipkart too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These are good for self learning, and you can write exams too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Please have a look at www.earmaster.com also.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For Hindustani classical theory you may want to refer to \"Rag Parichay\", or alike.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37939/Manik Bajpai", "score": 1 } }, { "sents": [ { "text": "I suggest you to find a violin teacher near by your town, or search some virtual teachers online.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try the video tutorials from some you tube channels.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37943/AdamIJK", "score": 1 } } ]

{ "question": "Just a curious beginner with no music background and knowledge of music.I am fond of Western classical music, thus violin. I have a violin but don't know where to start. I couldn't find someone to teach me Western. Although a music professional told me that Indian and Western violin are mostly same in theory. Is it true? Can I play Western style if I learn with Indian theory? Please suggest where to start from scratch to learn violin.", "title": "Violin - Western Classical vs indian classical. How different are they?", "forum": "music.stackexchange.com", "question_tags": "<theory><violin><musicology><indian-classical>", "link": "music.stackexchange.com/questions/49296", "author": "music.stackexchange.com/users/33765/Inderpreet Singh" }

[ [ "Western classical and Indian classical violin are very, very different styles. The only real similarity is that they use the same instrument. Almost everything else is different including the way the instrument is held. Right from the first lesson, the training would be different. ", "Western classical and Indian classical violin are very, very different styles." ] ]

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[ 7 ]

[ [ "Western classical and Indian classical violin are very, very different styles. Both use the same instrument, the violin, but there are many differences between them. Western classical is played in a chair, Indian is played upright, standing or seated. There are also differences in how the styles use scales, improvisation and more. Even a beginner's very first lessons will be very different between the styles. The differences are at such a basic level that even a Beginner's first lessons could be difficult to learn. The violin is played at your neck, with the bottom of the instrument's body supported by the ground." ] ]

[ { "sents": [ { "text": "I don't have an answer for you with measurements in milliseconds, etc., but as a tuba player I can give you my experiences.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not consciously thinking of anticipating anything in order to get my sound out because my instrument is bigger .", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead, the training I've received over time just naturally tells me what I need to do in order for my sound to come out when I want it.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, it just becomes second nature, and so for us it's not an issue of \"anticipating,\" but rather just playing like we know how to.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a little like throwing or kicking a ball, I guess.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't stop and measure wind velocity and angles and things like that; instead, over time you just naturally know that when it feels like this when you throw/kick, the ball will be sent over here .", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "More problematic is the location within the orchestra; sometimes the tuba player can be a solid 50 feet from the conductor (and I've seen much greater distances than that!).", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this situation, if I and the concertmaster both begin a pitch at the same time, my sound will reach the conductor (and thus the audience) at a slightly different time.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such, I do find myself occasionally anticipating the conductor in situations like this, especially when my lines match something being played with instruments right at the front of the stage.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "But this is much more problematic for percussionists, who are even farther back on the stage.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus (in my opinion) it's less about size and low frequencies that take longer to travel, and more about simple placement within the orchestra.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 22 } }, { "sents": [ { "text": "It's not as much as a \"perfectly synchronized start\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Low instruments have a slow attack both physically as well as taking longer to register in hearing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At the same time, they are providing the fundamental anchors for the harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If they swing into full attack way later than the higher-pitched instruments, the context for the higher-pitched instruments is missing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While acoustic memory will help in reconstructing the \"attack context\" even with some systematic delay, it helps if you have a nice \"overattack\" with its peak more than its start being aligned to the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even for continuous-note instruments (like wind instruments) it usually is good for hearing and transparency to go for a plucked or detached bowed double bass sound with an organic accent on the beat (or off-beat, depending on the music in question).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It helps maintaining transparency together with more melodically played instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/33805/user33805", "score": 14 } }, { "sents": [ { "text": "Slightly off at a tangent, but this still can be thought of even in a rock band scenario.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an occasional drummer & long-time bassist...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have you ever worked with a bassist who thinks his note starts when his pick hits the string rather than leaves it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's like drumming in molasses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might only be milliseconds between the two but the difference in feel is colossal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12556/Tetsujin", "score": 7 } }, { "sents": [ { "text": "I play cello in two different ways: either acoustically like everybody else (orchestra etc.), or, with the band on louder stages, through a piëzo pickup and in-ear monitoring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I play a fivestring cello with low F, and in the band I fulfill more of a bass role.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was never really aware of playing before/after the beat, until we recorded a song that I normally play with pickup, and actually used it with my in-ear", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "like I do live.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sounded quite well while playing, but when we switched to the microphone tracks it was totally not in time!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pickup responds almost instantaneous and thus I don't anticipate when using it, but the body definitely takes some response time and the room yet more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The problem vanished when we turned down the pickup in my headphones, as the acoustic feedback caused me to automatically play sufficiently early.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Vice versa, when we recorded an acoustic song but also added a bit of pickup signal for extra oomph, it sounded overhasted at first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "tl;dr :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "orchestra bass instruments should definitely anticipate a bit, but not necessarily by conscious action – it should happen naturally.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Drummers also need to accelerate the sticks well before the actual hit, but they don't actually think of it as an action before the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 5 } }, { "sents": [ { "text": "When I'm in an orchestra, and the double bass is playing a pulsing beat, it almost always is like a half a second behind to my ears.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's annoying.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The bow moves with the rest of the lower-strings, but the sound is behind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't really know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that depending on the acoustics, and where in the room the musician is standing, it can be good to play a little ahead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that in some rooms, sound can bounce off the back of the room and cause an echo which throws all kinds of people off.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All just random thoughts on the subject...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/27335/General Nuisance", "score": 1 } }, { "sents": [ { "text": "As a conductor, myself, it is not always possible to hear all instruments together at the same time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Using arguments used above, I could, for example hear everything exactly together.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "But by the time it reached the audience in a linear world the music would be less together, in regards to where the audience member is placed.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In my experience of concert halls and churches, however, sound 'mixes' in the acoustic", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "and it is one of the joys of a conductor to go to the rear of the building in rehearsal and hear exactly what is being produced.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "My thoughts are that sound in general travels up not out and the ear hears back the rebound.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The ear is a clever organ and between it and the brain it can compute all it hears into one coherent sound and that is what we hear.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'm not a scientist but if you are playing in a decent acoustic there is no need to play late at all.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Trust the beat, play on it", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "and I believe the acoustic does the rest for the audience.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/33819/choirmaster48", "score": 1 } } ]

{ "question": "\"The bigger the instrument, the heavier the strings, the bigger the bow, the bigger the mouthpiece, the more you should anticipate.\" This concept is expressed occasionally by double bass players, conductors etc. Is there any good reasoning behind this? Is this practical, as in can players actually consistently begin their notes a constant amount of milliseconds earlier than higher instruments? If that was possible, would the audience, far and near the stage, perceive a perfectly synchronized start of a chord?", "title": "Should low frequency players anticipate in orchestra?", "forum": "music.stackexchange.com", "question_tags": "<instruments><orchestra><acoustics><psychoacoustics>", "link": "music.stackexchange.com/questions/49356", "author": "music.stackexchange.com/users/10211/Kari Kääriäinen" }

[ [ "If you are playing in a decent acoustic, there is no need for instruments to anticipate or start late. The audience hear the music bounced back off the acoustic.", "Trust the beat, play on it and I believe the acoustic will do the rest' ." ] ]

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[ 7 ]

[ [ "Concert hall conductor says it is not always possible to hear all instruments together at the same time. Sound travels up, not out, and the ear hears back the rebound, he says. He believes the acoustic does the rest for the audience. But he says if you are playing in a decent acoustic, there is no need to play late at all. 'Trust the beat, play on it,' he says, 'and I believe the acoustic will do the rest' ." ] ]

[ { "sents": [ { "text": "You're definitely hearing a D4 along with this A, but are you sure about the F4?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I wonder if you're actually hearing a G3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason is because of how string instruments are tuned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Violins, for instance, are tuned in 5ths, so when they tune to an A4, they tune the D4 along with the A4 to create a perfect fifth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then they tune a G3 along with the D4 to create another perfect fifth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 6 } }, { "sents": [ { "text": "I have heard accompanists use a D minor chord when a violinist (or violist or cellist for that matter) is tuning many times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One accompanist I had even followed up the D minor with a D major chord!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The rationale my cello teacher gave me was that playing a triad puts the string pitches into 'context', and that a D minor chord 'sounds purer' than D major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not sure about the latter point but putting notes into the context of a triad makes sense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With a violin it is common to tune the middle two strings first (A and D), to avoid messing up the other strings' tunings because of the variations in tension when turning the pegs, hence the use of a D triad initially.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cellists also go for A and D first (top two strings) because the variation of tension when tuning is not so pronounced.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28441/ChristopheLynch", "score": 6 } }, { "sents": [ { "text": "I've heard this done plenty of times, but never really thought about why before now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It makes some sense to play the A and the D, because the piano will be (nominally) tuned to equal temperament and the piano's fifth will not be exactly pure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since pianos use with \"stretched\" tuning (the octaves are slightly bigger than a true octave), and the amount of stretching should be judged by ear depending on the design of the piano and the condition of the strings, the only way to tune the same sized fifth accurately is to hear both piano notes and copy what the piano tuner did.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Unless playing the F is just a tradition and the reason has been forgotten over the centuries, I would speculate that the F is simply to make the piano easier to hear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tone of a string instrument has more high-pitched harmonics than a piano, and the piano sound starts to die away as soon as the notes are played, but the string tone does not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "FWIW tuning a string instrument to a pipe organ, where the pipes that have the most stable pitches have very few harmonics, is surprisingly difficult - hence the speculation about \"hearing the piano\" in the previous paragraph.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Equal tempered major and minor thirds are both a long way \"out of tune\" compared with \"pure\" major and minor thirds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A major third is sharp by about 1/7 of a semitone, and a minor third is flat by the approximately same amount.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That doesn't suggest any good reason for playing a minor chord compared with a major one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe string players just find it easier to play three white keys!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "Pure speculation here, but these are the reasons that stick out for me: When using real instruments, a chord is often easier to tune to than a unison tone", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I guess the reason is a combination of us being used to playing in tune with chordal accompaniment, and that it compensates a bit for any irregularities in the harmonic spectrum of real world resonators, and gives our ear more information to pick out an exact \"centre\" from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That, and it's louder of course.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why a D chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It gives a strong tonic centre to pick out a d and an a from, for the fiddles that leaves the G and the E to tune in fifths from the a and d.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the bass, the same but in fourths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(incidentally, for a guitar too with a B in fifths from your E).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the violas and cellos, a bit more of a stretch, the G from the D and the C from that G, but still nice and easy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why a D minor?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Better than an open fifth for the reasons a fifth is better than unison.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And why is D minor better than D major?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No semitone clashes or tritones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The aforementioned G, E, C and Bs all happily mind their own business in major seconds and perfect fourths from a D minor's chord tones, (or fifths and major sixths) making it easy those notes to to your own strings using 5ths/4ths while a D minor is still being played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An F# would be a bit of a cat among the pigeons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why not G major?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Convention", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Would be worse for guitarists, but i strongly doubt that's a consideration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5 string basses too but likewise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why not A minor?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tuning to the third of a chord is never good, you're always tempted to go towards a more just interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing an A minor might mess up the Cs of the violas.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And you know what they say about viola players...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They're valuable additions to orchestras and you wouldn't want the C string out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21139/Some_Guy", "score": 2 } }, { "sents": [ { "text": "Cellos, Violas, and some Basses have C-strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The F in the D-minor chord gives them a fifth (or an octave and a fifth) to tune to.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "An F# would be useless basically to every player in the orchestra.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51629/denn333", "score": 2 } } ]

{ "question": "I've heard string players tune from a piano by playing A4, followed by D4 and F4 together. They said it makes it easier to tune. I've never gotten a good answer why this is. Is it just a strange tradition, or does something about a D minor chord on the piano make it easier to tune the violin family?", "title": "When tuning an orchestra, why do some people play A followed by D and F together?", "forum": "music.stackexchange.com", "question_tags": "<tuning><orchestral-strings>", "link": "music.stackexchange.com/questions/49861", "author": "music.stackexchange.com/users/34108/John Platter" }

[ [ "S0: Cellos, Violas, and some Basses have C-strings. The F in the D-minor chord gives them a fifth (or an octave and a fifth) to tune to. An F# would be useless basically to every player in the orchestra.", "Cellos, Violas, and some Basses have C-strings. " ] ]

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[ 7 ]

[ [ "Cellos, Violas, and some Basses have C-strings. The F in the D-minor chord gives them a fifth to tune. An F# is useless " ] ]

[ { "sents": [ { "text": "From my experience, there is no one 'best' term for two notes played together that is universally (or near-universally) agreed-on. dyad is the most specific term for a pair of pitches sounding together, but it's not commonly-used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "interval works for many, but others will say that is a term for the distance between the notes, rather than something that refers to the act of playing them together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "some will say that chord is fine for two notes, and that seems to be the case for specific usages like the term 'power chord'. on stringed instruments one may talk about playing a double-stop , although that's a reference to the playing technique rather than the pure concept.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So basically, whatever term someone uses, you have license to be a bore and tell them they're wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 27 } }, { "sents": [ { "text": "Ultimately there is no unanimous definitions for these words, so it's useful to know how they can be used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One definition has a chord being three or more notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means that having only two notes wouldn't be a chord but would be an interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As someone else pointed out, power chords are a thing and consist of only two pitches (though they may run through several octaves).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems entirely reasonable to call such an interval a chord since it is functioning as one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which leads us to a definition based on function.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your note aggregate under question functions as a chord in terms of voice leading and harmony then it would be a chord and an interval could then also be a chord .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, just having three notes sounding at the same time would not necessarily be a chord if they are not functioning as a chord re voice leading and harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Such a collection would just be a note aggregate or potentially a cluster.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In summary, you can define chords in terms of numbers or function.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An interval is always two pitches (though they can be the same exact pitch!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and can be considered a chord in certain circumstances/definitions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Under other circumstances having three or more notes might not be considered a chord but an aggregate or cluster (or even more confusingly a cluster chord! )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll hear and witness any and all of these usages", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it's good to be aware of the many different ways these terms are used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12875/bfootdav", "score": 4 } }, { "sents": [ { "text": "A Chord is what happens when you play or sing more than one note at a time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2 note chords are called partial chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3 note chords spaced by thirds and fifths are called Triads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Triads are not ambiguous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e.g. CEG is an unambigous C Major triad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The idea behid so called partial chords is that thay are ambiguous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example C and E are notes in both the C Major (CEG) and A Minor (ACE) triads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "CE is a partial chord with no name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A special case of this is so called '5' chords which do have a name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G5, for example is comp\\osed of the notes G and D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's called G5 because it contains the root G and its perfect fifth D. Since it has no third to tell whether it's Major or Minor", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's still ambiguous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rock Guitarist like these chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just to be super clear: partial chords are bits of triads (usually), and Triads form the \"cores\" of larger chords (like Am7).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35528/RRR", "score": 2 } }, { "sents": [ { "text": "Melodic and Harmonic intervals: “Melodic” means played one note at a time, either ascending or descending in pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "“Harmonic” means both notes are played together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "( source )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53318/Meg", "score": 2 } }, { "sents": [ { "text": "In addition to @topomorto's answer you could also use \"implied harmony.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, G over B moving to E over C (all naturals) implies a G major chord going to C major even though the fifths of the chord are missing from the implied triads.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I prefer this definition which simply defines chord as a harmonic entity of multiple pitches (indefinite quantity.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://en.wikipedia.org/wiki/Chord_(music)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to refer to one of those chords as dyad , triad etc... https://en.wiktionary.org/wiki/polyad", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 2 } }, { "sents": [ { "text": "The actual answer is \"An Interval.\"", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Of course, that isn't a complete explanation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "An interval may appear on its own or as a representative of a chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example the interval C-E by itself is just a major third.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In a piece of music it could stand for a C major chord, and A minor chord, depending on the voice leading.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It could just be an incomplete chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A fifth C-G can, with enough distortion be a Power Chord representing C major (or minor).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 1 } }, { "sents": [ { "text": "Yes, the nomenclature is not perfectly agreed upon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But we simply have to deal with that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How about simply stipulating what the tones are, and not agonizing over whether it's an \"interval\" or a \"chord\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The definitions are not going to help tell you what it \"is\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } }, { "sents": [ { "text": "Harmonic interval = two notes played simultaneously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chord = three or more notes played simultaneously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These definitions are universally accepted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's physics, much like GPS triangulation; it is not possible to determine the root let alone the type of chord unless you have at least three notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64242/NickGrooves", "score": 0 } }, { "sents": [ { "text": "Regardless of the term to describe 2 notes playing together, playing only two notes is not enough to define the \"character\" of the \"chord\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, you can't say is minor or major only with 2 notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's why you need a third or more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, remember a chord doesn't need to be played by one instrument alone, let's say one instrument is playing just harmonic intervals (2 notes playing together) and another instrument is playing a melody on the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The points when the sounds of the 2 instrument mix together with 2 different notes creates the chords that defines the harmony of the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65279/Juan Vallejo", "score": 0 } } ]

{ "question": "Until very recently I'd though a chord was any group of notes played together. However, I just heard a chord defined as \"three or more notes played together.\" If this is the case, what should I call just two notes played together?", "title": "A chord is three notes? What do you call just two notes?", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory>", "link": "music.stackexchange.com/questions/51396", "author": "music.stackexchange.com/users/25111/theonlygusti" }

[ [ "Two notes played together could be an interval, an incomplete chord. An interval may appear on its own or as a representative of a chord.", "An interval may appear on its own or as a representative of a chord. " ] ]

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[ 7 ]

[ [ "An interval may appear on its own or as a representative of a chord. A fifth C-G can, with enough distortion, be a Power Chord representing C major (or minor) The interval C-E by itself is just a major third." ] ]